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Ata Arte E Esoterismo V2.Pdf Índice 4 Teresa Lousa, Arte e Esoterismo Ocidental 5 Luís Campos Ribeiro, Estrelas, cometas e profecia: a conjugação de arte, ciência e astrologia em Portugal no século XVII 33 Manuela Soares, A Evolução da Mão 42 Jorge Tomás Garcia, Un Tiempo nuevo: representacionesde Aión en la musivaria romana 59 Salomé Marivoet, O Espiritual na Pintura Contemporânea. Contributos das obras escritas e artísticas de Kandinsky e Rothko ao estudo do transcendental místico na linguagem pictórica 85 Dora Iva Rita, Uma narrativa inesperada numa pintura do Martírio de S. Sebastião 97 Inês Henriques Garcia, Bosch, fantasia e espiritualidade: Uma relação intrínseca 110 João Peneda, Kadinsky e o “Espiritual na arte” 124 Roger Ferrer Ventosa, Representaciones artísticas del no dualismo 136 Júlio Mendes Rodrigo, O Andrógino Hermético: um “Ser Duplo” através das Artes e das Letras 145 Marjorie E. Warlick, Alchemy and other Esoteric Traditions in Surrealist Art 156 Anna Váraljai, Theosophic Art and Theosophic Aesthetic in Hungary – In Ten Years, in the Aspect of the Theosophical Society Journal (1912-1928) 166 Isabel da Rocha, úsica e os fenómenos do Universo e do Ser Humano, na tradição Pitagórica 182 Mariana Bernardo Nunes, Os 5 âmbitos de cura de Paracelso em comparação com o conceito de cura de Hagane no Renkinjutsushi 196 Miguel Ribeiro-Pereira, Major/Minor Harmony And Modern Human Consciousness – An Anthroposophical And Musical Approach To Laughing And Weeping 210 Arilson Oliveira, O Simbolismo De “O Nome Da Rosa” – Entre Flores Secretas E Risos Em Lumes Simpósio Temático: Arte e Esoterismo Ocidental Coordenação: Teresa Lousa (UL) A arte constitui, tal como muitas outras áreas do saber, um veículo de expressão e de comunicação de conhecimentos interiores, sendo considerada pela Gnosis uma das quatro colunas do conhecimento, em conjunto com a Ciência, a Filosofia e a Religião. Podemos encontrar, da Antiguidade à Contemporaneidade, em templos, pinturas, esculturas, na música e também na literatura e poesia, muitos testemunhos de como os artistas plasmaram, numa linguagem metafórica, intuições de uma ciência tendencialmente dialética. Mais do que uma via mística, a arte constitui também uma das principais manifestações culturais de um saber que, por não ser mainstream e por ter sido cunhado pejorativamente durante séculos, não pode ter uma divulgação pacífica ou ostensiva. Por isso, o esoterismo ocidental encontrou inegavelmente na arte, pelo seu caráter imagético e metafórico e não textual ou literal, um território de difusão e promoção extremamente fértil. Assim, neste Simpósio Temático gostaríamos de receber propostas que explorem a relação da arte com o esoterismo ocidental numa dupla vertente: como revelação e como divulgação de um saber hermético. OMETS AND PROPHECY: A COMBINATION OF ART, SCIENCE AND ASTROLOGY IN SEVENTEENTH-CENTURY PORTUGAL Luís Campos Ribeiro (IEM-FCSH/UNL)1 Resumo: A Biblioteca da Ajuda poss ui dois curiosos manuscritos ilustrados do século XVI de natureza profético-astrológica. Os textos neles contidos são um interessante exemplo da cultura e arte do Barroco pela combinação de erudição científica, profecia, astrologia e religião. A identidade dos seus autores é desconhecia, mas revelam um profundo conhecimento científico e religioso. O primeiro texto, “Estrela Descuberta ou Cometa Imaginado”, analisa uma observação pouco usual da estrela Spica, da constelação da Virgem, considerada pelo autor como um presságio de um future herdeiro para o trono de Portugal. O Segundo, “Volta & Tornada do Cometa Passado”, descreve os movimentos do grande cometa de 1680 e os seus efeitos no mundo, fazendo um estudo dos principais eventos políticos e religiosos da época (1681-1685). O texto começa pela apresentação dos pontos de vista científicos, religiosos e filosóficos do autor, seguindo-se uma descrição dos movimentos celestes. No entanto o objetivo não é o conhecimento científico; neles a ciência é apenas um instrumento para descodificação de mensagens proféticas e divinas através de cometas e anjos. Apesar de ser escrito num período em que os conceitos clássicos do Cosmos estavam em profunda transformação o autor não discute esta questão, usando a astronomia e a astrologia como um instrumento para a interpretação na vontade divina. Ambos manuscritos são ilustrados por duas aguarelas que oferecem suporte visual à mensagem dos textos. Seguindo a mesmo estilo, as ilustrações combinam a alegoria com o detalhe científico. Este paper explora estes documentos únicos e a combinação de arte e do discurso científico com a hipérbole e metáfora profética característica do Barroco. Palavras-chave: astrologia, iconografia astrológica, profecia, cometologia Abstract: The Ajuda Library possesses two curious seventeenth-century illustrated texts on prophecy and astrology. They provide and interesting example of the interaction between scientific erudition, prophecy, astrology, and religion, and stand as an example of Baroque culture and art. The identity of the authors is unknown, but their writings display familiarity with the main political issues of their time and reveal considerable scientific and religious knowledge. The first text, “Estrela Descuberta ou Cometa Imaginado”, recalls the unusual sighting of the star Spica, of the constellation of Virgo, which the author considers an omen foretelling a future heir to the throne of Portugal. The second, “Volta & Tornada do Cometa Passado”, describes the movements of the great comet of 1680, and discusses its effects on the World, by reviewing the main political and religious events of that period (1681-1685). The text begins with the presentation of the author’s scientific, philosophical and religious views and with a description of the celestial movements. Nonetheless, its purpose is not scientific knowledge; science is only a means to prove its 1Licenciado em História da Arte pela Faculdade de Ciências Sociais e Humanas, UNL; Membro integrado do Instituto de Estudos Medievais, FCSH/UNL main topic: prophecy and divine messages by means of comets and angels. Despite being written in a period when the classical concepts of the Cosmos were undergoing a profound change the author uses astrology and astronomy not as a platform to discuss the theories of the universe, but as an instrument to interpret the divine will. Both texts are illustrated by large watercolour drawings that provide visual support to their message. Following the nature of the text they combine the allegory with scientific detail. This paper explores these unique documents both combining art and scientific discourse with baroque prophetic hyperbole and metaphor. Key-words: astrology, astrological iconography, prophecy, cometology The “Most Curious Manuscript” This paper presents two illustrated 17th century texts on astronomy and astrology written in Portuguese, where scientific discourse comes hand in hand with prophecy. The first text, Estrela Descuberta ou Cometa Imaginado no Horizonte de Portugal no anno de 1685 (Newfound star or imagined comet on the horizon of Portugal in the year of 1685), concerns the observation of an unusual celestial object which turns out to be the star Spica. The second text, Volta & Tornada do Cometa Passado Que apareceu no Anno de 1681 Reducido & Reresentado & Explicado por anno presente, e os mais que se seguem (Return and come back of the past comet which appeared in the year of 1681, summarized and composed and explained for the present year e those to follow), as the title suggests, concerns the astrological interpretation of the comet of 1681. The documents are accompanied by three watercolour paintings, that illustrate the text, providing an opportunity to study Portuguese Baroque scientific-prophetic discourse together with its artistic expression. In the context of seventeenth-century Portugal, this combination of image with prophetic, scientific and astrological material are, as much as could be ascertained, unique in its kind. Although they follow the common literary model of that period, of which there are many other Portuguese manuscripts, there are no other recorded examples of texts on prophetical-astrological discourse that conjugate in such a strong manner text and image. This appears to be the only surviving example. An accomplished example of the Baroque aesthetics and infused with the mystical and messianic spirit of 17th century Portugal, this manuscript stands as an excellent testimony of a less known aspect of this period’s art and culture2. The authors of both the text and the paintings are unknown. They are undoubtedly cultured individuals given their acquaintance with renowned scientific and religious authors, their method of astrological interpretation, and their knowledge of astronomy. The frequent use of biblical quotations and the presence of the motto “Ad maiorem DEI gloriam” at the end of the second text, suggests the authors to be Jesuit priests. Despite a brief reference by Luís Carolino3, the documents remained unpublished. Both belong to the Biblioteca da Ajuda, Lisbon. They are bond together, forming a single 2This paper intends a presentation of the manuscript and the publication of the text; future studies, currently under preparation will address more fully its placement in the international context. document, and archived in the library’s collection of assorted manuscripts under the title Manuscripto Muito Curiozo Que Trata dos Cometas (A most curious manuscript concerning comets)4. The document is a paper manuscript, with non-numerated folia5, written in ferro-gallic
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