Thesis etd-05212021-203612 |
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Thesis type
Tesi di laurea magistrale
Author
MATTEONI, ILARIA
URN
etd-05212021-203612
Thesis title
«Piangendo parea dicer: "Più non posso".» L'iconografia del telamone dall'arte antica a Giovanni Pisano.
Department
CIVILTA' E FORME DEL SAPERE
Course of study
STORIA E FORME DELLE ARTI VISIVE, DELLO SPETTACOLO E DEI NUOVI MEDIA
Supervisors
relatore Prof. Collareta, Marco
correlatore Prof.ssa Maffei, Sonia
correlatore Prof.ssa Maffei, Sonia
Keywords
- arte medievale
- atlante
- atlas
- cariatide
- caryatid
- Dante Alighieri
- Giovanni Pisano
- iconografia
- iconography
- medieval art
- telamon
- telamone
- Wiligelmo
Graduation session start date
12/07/2021
Availability
Full
Summary
ITA: L’elaborato finale si concentra sull’analisi di origine e problematiche relative al sostegno e allo pseudo-sostegno antropomorfo, sulla diffusione del motivo dell’atlante, della cariatide e del telamone. Il primo capitolo si sofferma sui fenomeni dell’arte antica – principalmente greca e romana, senza dimenticare però alcune manifestazioni delle culture mesopotamiche – e sull’interpretazione delle sopracitate iconografie entro un assetto culturale, architettonico e artistico pagano. Il secondo capitolo analizza la traduzione dei motivi da parte del mondo cristiano, le modalità secondo le quali le caratteristiche della figura di Atlante vengono reinterpretate dalla cultura e letteratura cristiana, dagli scritti dei primi Padri della Chiesa e degli eruditi della corte carolingia di secolo VIII fino al Gotico di Giovanni Pisano. La conclusione del secondo capitolo percorre le varianti iconografiche del sostegno antropomorfo, dagli evangelisti che sorreggono i lettorini di amboni e pulpiti alle Virtù che elevano i sepolcri dei defunti. Il terzo capitolo è interamente dedicato a Giovanni Pisano, principalmente al telamone del pulpito della chiesa di Sant’Andrea a Pistoia e al presunto autoritratto accovacciato del pulpito del Duomo di Pisa. È indagata, in relazione con ciò, la questione relativa all’autoritratto d’artista come telamone e sostegno dell’opera.
ENG: The following thesis analyses the origin and the diffusion of the anthropomorphic support’s iconography – atlas or caryatid – from the ancient period (Greek and Roman art) to the end of the Middle Ages. The first chapter focuses on Ancient art, also by bringing attention to specific manifestations of the examined iconographic motive in Mesopotamic art. The main theme of this chapter regards the transformations occurred between the mythologic narration concerning the figure of the titan Atlas, and its necessary reinterpretation on behalf of the Roman Empire. The second chapter studies the characteristics of the iconography of the atlas, i.e., the medieval telamon, after its collocation into the visual repertoire of Christian art. The last paragraph of this chapter follows the processes of revaluation and positive metamorphosis of the motive, its translation into Evangelists and Virtues, who support pulpit’s lecterns and funerary sarcophagi. The third chapter is entirely dedicated to Giovanni Pisano’s telamons, such as the one crouched under a column that bears the weight of the upper portion of Pistoia’s pulpit, inside the church of Sant ’Andrea, or the supposed self-portrait hunched under the caryatid representing Christ of the pulpit of the cathedral of Pisa.
ENG: The following thesis analyses the origin and the diffusion of the anthropomorphic support’s iconography – atlas or caryatid – from the ancient period (Greek and Roman art) to the end of the Middle Ages. The first chapter focuses on Ancient art, also by bringing attention to specific manifestations of the examined iconographic motive in Mesopotamic art. The main theme of this chapter regards the transformations occurred between the mythologic narration concerning the figure of the titan Atlas, and its necessary reinterpretation on behalf of the Roman Empire. The second chapter studies the characteristics of the iconography of the atlas, i.e., the medieval telamon, after its collocation into the visual repertoire of Christian art. The last paragraph of this chapter follows the processes of revaluation and positive metamorphosis of the motive, its translation into Evangelists and Virtues, who support pulpit’s lecterns and funerary sarcophagi. The third chapter is entirely dedicated to Giovanni Pisano’s telamons, such as the one crouched under a column that bears the weight of the upper portion of Pistoia’s pulpit, inside the church of Sant ’Andrea, or the supposed self-portrait hunched under the caryatid representing Christ of the pulpit of the cathedral of Pisa.
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