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Imago & Mirabilia Les formes del prodigi a la Mediterrània medieval The ways of wonder in the Medieval Mediterranean Las formas del prodigio en el Mediterráneo medieval Editors Anna Orriols, Jordi Cerdà i Joan Duran-Porta IMAGO & MIRABILIA Les formes del prodigi a la Mediterrània medieval The ways of wonder in the Medieval Mediterranean Las formas del prodigio en el Mediterráneo medieval IMAGO & MIRABILIA Les formes del prodigi a la Mediterrània medieval The ways of wonder in the Medieval Mediterranean Las formas del prodigio en el Mediterráneo medieval EDITORS Anna Orriols, Jordi Cerdà i Joan Duran-Porta Universitat Autònoma de Barcelona Servei de Publicacions Bellaterra, 2020 © dels textos: els autors, 2020 © d’aquesta edició: Servei de Publicacions de la Universitat Autònoma de Barcelona, 2020 Primera edició: desembre de 2020 Edició: Servei de Publicacions Universitat Autònoma de Barcelona 8193 Bellaterra, Cerdanyola del Vallès (Barcelona) [email protected]. www.uab.cat/publicacions ISBN: 978-84-490-9341-8 La reproducció total o parcial d’aquesta obra per qualsevol procediment, compresos la reprografia, el tractament informàtic i la distribució d’exemplars mitjançant lloguer, és rigorosament prohibida sense l’autorització escrita dels titulars del copyright, i estarà sotmesa a les sancions establertes a la Llei. Aquesta publicació és el resultat de la recerca duta a terme en el marc del Projecte: MICINN HAR2015-63883-P: Movilidad y transferencia artística en el Mediterráneo medieval: artistas, objetos y modelos - MAGISTRI MEDITERRANEI. Índex Al voltant d’Imago & Mirabilia.................................................. 11 I. GEOGRAFIES / GEOGRAPHIES / GEOGRAFÍAS Las maravillas en sus geografías sagradas: efectos de realidad y efectos de presencia, entre saber y visión, en pinturas catalanas del fin del medioevo ......................... 17 Dominique de Courcelles «Meinte merveilles avum veüe, ki en Bretaigne est avenue»: la geografia del desig i la poètica de la remambrance als Lais de Maria de França .......... 29 Meritxell Simó El Carmel o l’extraordinària memòria d’una geografia perduda. Felip Ribot i la seva De institutione primorum monachorum . 39 Jordi Cerdà Subirachs Tresors amagats e encantats. La meravella sota terra ................................. 51 Anna Orriols A monstrous appendage: British Library MS Harley 2799, f. 243 and the illustrated De portentis . 73 Miguel Ayres de Campos-Tovar Suspeita, terror e atração: seres noturnos e mirabilia em túmulos régios portugueses do século XIV . 87 Carla Varela Fernandes Peregrinatio ad Terram Sanctam. The Mediterranean geography of Christian wonders in the Book of the Infante Pedro of Portugal . 99 Paulo Esmeraldo Catarino Lopes II. RELATS / STORIES / RELATOS Corpi iconizzati e immagini «corporizzate» ........................................ 113 Michele Bacci El regne animal als peus de Crist. Miracle i presència eucarística en els retaules del Corpus dels bisbats catalans...................................... 125 Cèsar Favà Monllau 9 ¿Biografía o hagiobiografía? El De Vita Gregorii Thaumaturgi de Gregorio de Nisa ........ 145 Mattia C . Chiriatti Los barcos de Magonia y otros navíos voladores como género de mirabilia durante la Edad Media .............................................. 153 Juan Antonio Jiménez Sánchez ¿Falsos prodigios o verdaderos milagros? Reconocer las señales de la llegada del Anticristo en la literatura altomedieval ibérica ................................... 163 Gaelle Bosseman La imagen de la maravilla: la identidad femenina en el roman de La Manekine de Philippe de Rémi................................................ 173 Sandra Dolz López Omnis etiam mundus ante oculos eius adductus est. Les visions de sant Benet al claustre de Ripoll ...................................... 183 Pere Beseran i Ramon Relatos prodigiosos nos códices do Mosteiro de Alcobaça ............................. 193 Catarina Fernandes Barreira, Mário Farelo Núvols, capes i transfretacions o el viatge com a forma de prodigi. Tradicions textuals i iconogràfiques del viatge de sant Antoni Abat a Barcelona ............ 203 Montserrat Barniol López III. OBJECTES / OBJECTS / OBJETOS Objetos jerosolimitanos medievales: actantes transmediterráneos ....................... 215 Nikolas Jaspert Política i poder en el control de les relíquies a la Mediterrània del segle VI ................ 237 Pere Maymó i Capdevila El toque de lo sagrado: los tejidos como reliquias ................................... 247 Laura Rodríguez Peinado Colour, light and wonder in Medieval Islamic Aesthetics ............................. 259 Idries Trevathan ¿Qué le dio la Virgen al carpintero de Le Puy por la noche? . 271 Avital Heyman La gemma di Dio: il Sacro Catino di Genova tra «mirabilia» e «racio»................... 287 Gianluca Ameri 10 Al voltant d’Imago & mirabilia Segons reporta Joan Coromines en el seu Diccionari etimològic i complementari de la llengua ca- talana, del llatí mīrābĭlĭa, el plural neutre mirabilia ja apareix incomparablement més usat que la seva forma singular en textos del llatí vulgar, amb tendència a quedar estereotipat com a únic i amb el sentit de «prodigi, cosa estupenda». Aquesta substantivació de l’adjectiu apareix consumada en totes les llengües romàniques d’Occident: com ara en castellà maravilloso, en francès merveille, en italià meraviglia o en portuguès maravilhoso. El nostre mirar prové del llatí mīrārī, que tenia el sentit d’«estranyar, estar astorat» o també d’«admirar.» En els primers testimonis catalans medievals conservats, s’hi observa la mateixa significació que en llatí; després, evoluciona semànticament en «contemplar» i, finalment, en «guaitar, esguardar, mirar». I malgrat que mirar sigui el sentit usual, va persistir en la nostra llengua medieval el matís d’esguardar, mirar atentament. A l’edat mitjana no va existir mai un únic meravellós, sinó aquest mirabilia plural. I és des d’aquesta pluralitat de mirades atentes que aquest volum que teniu entre les mans vol tractar el fe- nomen del meravellós. Sobre un substrat antic, reelaborat per la tradició cristiana, una diversitat de llocs, relats i creences van anar configurant els perfils del prodigi a l’edat mitjana. Cada moment de la història, cada societat, ha segregat un meravellós, el qual s’ha nodrit sovint del que l’ha precedit. Els medievalistes han insistit que hi ha poc d’original en el meravellós d’aquest extens i difús període. En aquest sentit, el cristianisme va fer-hi una aportació escassa perquè desconfiava o, clarament, comba- tia un conjunt d’imatges o de nocions que considerava d’origen pagà. En canvi, sí que va impulsar i condicionar el sobrenatural i el miraculós, de bon principi, àmbits de naturalesa i de funció distintes a les de la meravella. Tal com va assenyalar Jacques Le Goff en un citadíssim article, si bé el meravellós, per a l’home contemporani, és una categoria circumscrita a l’esperit, a la creació artística o a la literatura, per al medieval era una categoria de l’univers conformada per un conjunt de coses prodigioses. L’histori- ador francès apuntava que a l’edat mitjana hi havia com a mínim tres adjectius que concorrien per qualificar el meravellós i que corresponien a àmbits diferenciats: mirabilis, magicus, miraculosus. Mirabilis correspondria al meravellós tradicional, que, segons Le Goff, arrelava en un substrat pre- cristià. Magicus era un concepte ambivalent: no solament existia una màgia negra associada al mal, al diable, sinó que també n’hi havia una de blanca, lícita i beneficiosa. Per últim, elmiraculosus seria pròpiament el sobrenatural cristià. El miracle, doncs, en bona mesura competeix amb el meravellós tradicional, el qual sembla definir-se per la seva oposició o incomoditat respecte al cristianisme. Malgrat els esforços de Le Goff per establir una taxonomia clara que endrecés aquesta categoria, la realitat pervinguda en objectes, imatges o relats és tossudament complexa. El prodigi a l’edat mitjana es va anar bastint de vestigis de procedències variades i es va haver d’adaptar a temps i espais en funció de les necessitats de cada moment. Aquesta categoria de coses prodigioses es resisteix encara ara a la seva definició precisa i al seu ordenament definitiu. Caldria un enfocament més complex de les representacions, les quals no es poden reduir a un simple reflex de les categories culturals i estaments socials. El tall binari, emprat pel mateix Le Goff i acceptat en bona mesura per la Nouvelle Histoire, entre una cultura erudita (savante) i una cultura popular (populaire), no afavoreix la comprensió del meravellós medieval. Aquest discurs historiogrà- fic va crear una mena de fossar infranquejable entre aquestes dues cultures malgrat la seva proximitat i convivència en el temps i en l’espai. I, el que ara ens interessa ressaltar, també en les seves subse- ORRIOLS, A. & CERDÀ, J. & DURAN-PORTA, J. (eds.), Imago & mirabilia. Les formes del prodigi a la Mediterrània medieval / The ways of wonder in the Medieval Mediterranean / Las formas del prodigio en el Mediterráneo medieval, Publicacions de la UAB, Bellaterra, 2020, 11-13. ANNA ORRIOLS, JORDI CERDÀ I JOAN DURAN-PORTA güents aproximacions d’anàlisi: la que mirava la cultura savante com a font incessant de progrés i desvetllament; i la que mirava la cultura populaire des de la malenconia. A través d’aquest tall, se solia oposar el temps i la cultura del poble, sempre immutable, incapaç d’alliberar-se del consuetu- dinari, del temps repetitiu, etnogràfic; en contrast a la cultura de les elits, creadora, dinàmica, que es considerava
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