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Os azulejos do Mosteiro de São Bento de Cástris de Évora : o ciclo bernardino e o seu significado
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Estudo dos azulejos do mosteiro cisterciense de São Bento de Cástris de Évora, em particular do ciclo de São Bernardo da Igreja, datado da segunda metade do século XVIII (período compreendido entre 1783 e 1785). Abarca ainda a descrição e análise iconográfica e a sua relação com o espaço arquitectónico, revelando o sentido narrativo, o qual se baseia não apenas nas fontes escritas e gráficas, mas resultando também da vontade do encomendador.
O conjunto insere-se na completa renovação do mosteiro. As intervenções então executadas auxiliam a compreensão do contexto da encomenda. De facto, as renovações começaram após um período de tempo em que o Mosteiro esteve encerrado, tendo as religiosas sido enviadas para o Mosteiro de Odivelas. Deste modo, comemoram o seu regresso e a afirmação da sua relevância enquanto comunidade religiosa. Para a renovação da Igreja concorreram várias modalidades artísticas, destacando-se a combinação dos azulejos com a talha dos altares, recurso habitual do Barroco português.
É ainda brevemente analisada a situação dos outros mosteiros da congregação nesta segunda metade do século, tendo em conta que, tal como aconteceu a São Bento de Cástris, outros nove mosteiros foram encerrados, sendo posteriormente reabertos. O Ciclo de São Bernardo é também comparado com outros ciclos de temática semelhante existentes em mosteiros cistercienses.
É de destacar o papel das gravuras enquanto modelo para os azulejos, bem como no âmbito mais alargado da disseminação de modelos rococó na cultura artística portuguesa.
Study of the tiles from the cistercian monastery of São Bento de Cástris, in Évora, in particular of the cycle of Saint Bernard, which dates from the second half of the eighteenth century (from 1783 to 1785). It covers the description and iconographical analysis and its relation to the architectural space, disclosing the narrative sense, which is inspired, not only by the written and graphical sources, but also as the result of the demander’s will. The set is inserted in a complete renewal of the monastery. These works help to explain the context in which the tiles were ordered. In fact, the remodelling started after a period of time in which the monastery was closed and the nuns sent to the monastery of Odivelas, near Lisbon. Thus, it was a way of commemorating their return and establishing their importance as a religious community. The church’s renewal included several types of art-forms, but we must emphasize the combination achieved between the tiles and the golden carved-wood altar pieces, a common resource of Portuguese’s baroque. The other monasteries of the Congregation are also briefly analysed in order to verify what happened to them in this second half of the century, taking into account that other nine monasteries were closed at the same time and then reopened. The cycle of Saint Bernard is even compared with other cycles of the same theme existing in Cistercian monasteries. A special approach is given to the engravings as the source, not only for this specific work, but also for the dissemination of rococo models in the Portuguese artistic culture.
Study of the tiles from the cistercian monastery of São Bento de Cástris, in Évora, in particular of the cycle of Saint Bernard, which dates from the second half of the eighteenth century (from 1783 to 1785). It covers the description and iconographical analysis and its relation to the architectural space, disclosing the narrative sense, which is inspired, not only by the written and graphical sources, but also as the result of the demander’s will. The set is inserted in a complete renewal of the monastery. These works help to explain the context in which the tiles were ordered. In fact, the remodelling started after a period of time in which the monastery was closed and the nuns sent to the monastery of Odivelas, near Lisbon. Thus, it was a way of commemorating their return and establishing their importance as a religious community. The church’s renewal included several types of art-forms, but we must emphasize the combination achieved between the tiles and the golden carved-wood altar pieces, a common resource of Portuguese’s baroque. The other monasteries of the Congregation are also briefly analysed in order to verify what happened to them in this second half of the century, taking into account that other nine monasteries were closed at the same time and then reopened. The cycle of Saint Bernard is even compared with other cycles of the same theme existing in Cistercian monasteries. A special approach is given to the engravings as the source, not only for this specific work, but also for the dissemination of rococo models in the Portuguese artistic culture.
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Azulejos São Bernardo Cistercienses Rococó Portuguese tiles Saint Bernard Cistercians