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Entre as Folhas: O Homem, os Monstros e os Animais Verdes na Arte Medieval Portuguesa (Séculos XII-XV)
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Contrariando a produção historiográfica internacional, a historiografia da arte em Portugal ainda não se concentrou a fundo no tema iconográfico geralmente designado como green man, apesar de a sua presença ser bastante substancial na arte medieval portuguesa. Com este estudo pretendemos dar arranque à análise da referida temática, partindo de uma metodologia que se quis o mais englobante possível a nível cronológico dentro dos limites do que é considerada a Baixa Idade Média, e também geográfico, dentro da totalidade do território nacional. Para começar, foi necessário esclarecer a pluralidade de tipologias e valências da grande família constituída por este tema iconográfico, uma vez que esta levanta muitas questões e ainda se encontra no processo de discussão e definição. Assim, a iconografia em causa acaba por adoptar diversas nomenclaturas conforme o que é representado e como é representado. Orientámos a nossa investigação no sentido de traçar uma cronologia de evolução da iconografia que está no cerne deste trabalho, no território que é actualmente Portugal, através da recolha de exemplares por todo o país. Esta tarefa guiou-se igualmente pelo propósito de compreender a génese do tema do homem verde neste território, e perceber, também, se se verificou ou não a importação da mesma. Se sim, a partir de que outras geografias, ordens monásticas ou correntes estéticas. Tentámos com este exercício verificar em que locais o green man era representado com maior incidência, dentro do espaço sagrado ou dentro do espaço disponível nos suportes onde é representado, e que implicações essas diversas localizações teriam a nível da intenção simbólica com que a iconografia foi produzida nos seus vários contextos. Acabámos por chegar à conclusão de que a máscara de folhagem, como também é chamada, não se trata de uma iconografia tão marginal como se possa à partida pensar. A posteriori, ao atentarmos nesta diacronia que foi construída, facilmente damos conta da divergência entre predominâncias de tipologias de representação na transição entre o auge da arte românica e o início da arte gótica, bem como novas localizações dentro do espaço sagrado, e noutros suportes, nos anos do Gótico. Concluímos, através desta averiguação espacial, que o homem verde se comporta de uma maneira ligeiramente díspar em termos simbólicos, entre as cronologias do que vulgarmente designamos por Românico e Gótico. Tentámos, de igual modo, apreender a diferença operada nestas duas fases artísticas no que respeita a esta iconografia a nível internacional, e com esta perspectiva contextual propusemo-nos a encontrar distinções entre os casos portugueses e os estrangeiros, no que se refere a preferências, regionalismos, diferenças cronológicas, eventualmente inovações específicas do território onde focamos o nosso estudo. De modo a alcançarmos o objectivo enunciado, optámos por afunilar o exame da iconografia em seis estudos de caso paradigmáticos, que nos permitiram explorar as diversas questões colocadas em casos práticos. Concluímos, finalmente, através destes estudos de caso, que as cabeças foliáceas em Portugal se revestem de uma presença e expressão muito particulares, acabando por se moldar às especificidades da arte e arquitectura neste país.
Unlike the international historiographic production, the art historiography in Portugal has not yet focused profoundly on the iconographic theme generally known as green man, despite its presence being substantial in Portuguese medieval art. With this dissertation we aim to analyze this theme, starting from the most global methodology possible in terms of chronology within the limits of the Late Middle Ages, and geography within the border of the national territory of Portugal. Firstly, we felt the need to illustrate the typological plurality of this big family, constituted by the theme of the green man, since it raises many issues and is still being discussed and defined. As such, the present iconography ends up adopting a diversity of names according to what is represented and how it is represented. We chose to guide our investigation in a way that would enable us to produce a chronological evolution of the mentioned iconography, in the territory that is today considered Portugal, through the collection of samples throughout the whole country. The former task was guided by the purpose of understanding the genesis of the theme of the green man in this territory, and to understand if we can see if there was an importation, or not, and if there was, from which geographical areas, monastic orders or aesthetic movements. With this exercise we attempted to establish what were the places in which the green man was represented more frequently: within the sacred space or within the available space in the media in which it was imprinted, and what symbolic implications these diverse locations have in the multiple contexts where the green man was represented. We came to the conclusion that the foliate mask, as it is also called, is not so much a marginal iconography as one would possibly consider at first glance. A posteriori, by observing this built diachrony, we easily notice the divergence between typologies of representation in the transition between the epitome of the Romanesque art and the beginning of the gothic art, as well as the new locations within the sacred space, and in other media, in the years of the Gothic. We concluded, with this spatial examination, that the green man behaves in a slightly different manner in the symbolic field, between the chronologies that we usually call the Romanesque and the Gothic. We tried, in an equal manner, to apprehend the difference operated in these two artistic phases in the international conjuncture, and with this contextual perspective we propose to find the distinctions between the Portuguese examples and the foreign ones, in terms of preferences, regionalisms, chronological differences, and eventually, specific innovations of the territory where we decided to site our work. To reach the goal, we opted for restricting our analysis of the iconography in six paradigmatic cases of study, which enabled us to better explore the various questions we proposed to answer in a more practical manner. Finally, we concluded, through these case studies, that the foliate head in Portugal ‘wears’ a very particular presence and expression, ending up adapting itself to the specificities of the art and architecture in this country.
Unlike the international historiographic production, the art historiography in Portugal has not yet focused profoundly on the iconographic theme generally known as green man, despite its presence being substantial in Portuguese medieval art. With this dissertation we aim to analyze this theme, starting from the most global methodology possible in terms of chronology within the limits of the Late Middle Ages, and geography within the border of the national territory of Portugal. Firstly, we felt the need to illustrate the typological plurality of this big family, constituted by the theme of the green man, since it raises many issues and is still being discussed and defined. As such, the present iconography ends up adopting a diversity of names according to what is represented and how it is represented. We chose to guide our investigation in a way that would enable us to produce a chronological evolution of the mentioned iconography, in the territory that is today considered Portugal, through the collection of samples throughout the whole country. The former task was guided by the purpose of understanding the genesis of the theme of the green man in this territory, and to understand if we can see if there was an importation, or not, and if there was, from which geographical areas, monastic orders or aesthetic movements. With this exercise we attempted to establish what were the places in which the green man was represented more frequently: within the sacred space or within the available space in the media in which it was imprinted, and what symbolic implications these diverse locations have in the multiple contexts where the green man was represented. We came to the conclusion that the foliate mask, as it is also called, is not so much a marginal iconography as one would possibly consider at first glance. A posteriori, by observing this built diachrony, we easily notice the divergence between typologies of representation in the transition between the epitome of the Romanesque art and the beginning of the gothic art, as well as the new locations within the sacred space, and in other media, in the years of the Gothic. We concluded, with this spatial examination, that the green man behaves in a slightly different manner in the symbolic field, between the chronologies that we usually call the Romanesque and the Gothic. We tried, in an equal manner, to apprehend the difference operated in these two artistic phases in the international conjuncture, and with this contextual perspective we propose to find the distinctions between the Portuguese examples and the foreign ones, in terms of preferences, regionalisms, chronological differences, and eventually, specific innovations of the territory where we decided to site our work. To reach the goal, we opted for restricting our analysis of the iconography in six paradigmatic cases of study, which enabled us to better explore the various questions we proposed to answer in a more practical manner. Finally, we concluded, through these case studies, that the foliate head in Portugal ‘wears’ a very particular presence and expression, ending up adapting itself to the specificities of the art and architecture in this country.
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Palavras-chave
Arte Medieval Portuguesa Monstros Homem verde Carranca verde Monstro Iconografia Simbologia do espaço Escultura arquitectónica Green man Green beast Monster Iconography Symbology of space Architectonic sculpture