A iconografia da arte sacra de Cláudio Pastro na Basílica Nacional de Aparecida

• Autor(a) principal: Silva, Richard Gomes da
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/7432
• topic: Image; Iconography; Narrative cycles; Liturgy; Pastro, Cláudio, 1948-2016; Arte sacra Brasil - História; Arte e simbolismo cristãos; Azulejos - Brasil; Santuário Nacional de Nossa Senhora da Conceição Aparecida (Aparecida, SP); Claudio Pastro; Imagem; Iconografia; Ciclos narrativos; Liturgia; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::FUNDAMENTOS E CRITICA DAS ARTES::CRITICA DA ARTE

This dissertation aims to present a study on "The Sacred Iconography of Cláudio Pastro in the National Basilica of Aparecida", with the clipping object the narrative narrative cycles inside the Temple, called by the artist as Pauperum Bible, executed between the years of 2000 and 2017 as part of the Sanctuary's internal ambiance project. To this end, the text initially wishes to encompass the discourse around the medieval christian image and the historical context that support its use by the christian religion, in order to understand the relationships between this image and the contemporary artist's production. From this, the research examines how the icon and other artistic influences really affected the composition of his Pastro's work, as well as the reasons that led the artist to adopt the tile as a support for the narrative cycles considering, for this purpose, the historical context by which tile art took place in Brazil and its main exponents. Finally, the research goes deeper into the iconographic reading of the panels starting from the reflection of the relations of these scenes with the internal space of the Temple, and then, in fact, to analyze the representation aspects that constitute these images, the selected narratives and their symbols, examining them through the theological and liturgical bias, but above all through the prism of the history of art