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Iconografías Del Arte Antiguo: Grecia Y Roma

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Iconografías Del Arte Antiguo: Grecia Y Roma Jorge Tomás García Iconografías del arte antiguo: Grecia y Roma Cuadernos de Bellas Artes / 36 Cuadernos de Bellas Artes – Comité Científico Presidencia: Dolores Schoch, artista visual Secretaría: José Luis Crespo Fajardo, Universidad de Sevilla, US Antonio Bautista Durán, Universidad de Sevilla, US Aida María de Vicente Domínguez, Universidad de Málaga, UMA Natalia Juan García, Universidad de Zaragoza, Unizar Carmen González Román, Universidad de Málaga, UMA Maria Portmann, Universidad de Friburgo (Suiza) Atilio Doreste, Universidad de La Laguna, ULL Ricard Huerta, Universidad de Valencia, UV David Martín López, Universidad de Granada, UGR - Universidade Nova de Lisboa, UNL (Portugal) María Arjonilla Álvarez, Universidad de Sevilla, US Sebastián García Garrido, Universidad de Málaga, UMA * Queda expresamente autorizada la reproducción total o parcial de los textos publicados en este libro, en cualquier formato o soporte imaginables, salvo por explícita voluntad en contra del autor o en caso de ediciones con ánimo de lucro. Las publicaciones donde se incluyan textos de esta publicación serán ediciones no comerciales y han de estar igualmente acogidas a Creative Commons. Harán constar esta licencia y el carácter no venal de la publicación. * La responsabilidad de cada texto e imagen es de su autor o autora. Jorge Tomás García Prólogo de Pilar Diez del Corral Corredoira Iconografías del arte antiguo: Grecia y Roma Cuadernos de Bellas Artes / 36 36- Iconografías del arte antiguo: Grecia y Roma Jorge Tomás García | [email protected] Precio social: 10,60 €| Precio en librería: 13,80 €| Editores: José Luis Crespo Fajardo, Francisco Carlos Bueno Camejo y Samuel Toledano Diseño: Samuel Toledano Ilustración de portada: Detalle del Mosaico de Alejandro en la Batalla de Issos, Museo Arqueológico de Nápoles, ca. 325 a.C. Fotografía de Jorge Tomás García. Imprime y distribuye: F. Drago. Andocopias S. L. c/ La Hornera, 41. 38296 La Laguna. Tenerife. Teléfono: 922 250 554 | [email protected] Edita: Sociedad Latina de Comunicación Social – edición no venal - La Laguna (Tenerife), 2014 – Creative Commons www.revistalatinacs.org/09/Sociedad/sede.html www.cuadernosartesanos.org/CBA.html Protocolo de envío de manuscritos con destino a CBA.: www.cuadernosartesanos.org/protocolo_CBA.html ISBN-13: 978-84-15698-57-9 D. L.: TF-256-2014 Para María, Ersilia cada día. Resumen El estudio de la iconografía del arte griego y romano refleja la complejidad y la cantidad de variantes que encontramos en las ma- nifestaciones artísticas clásicas. Algunas figuras, algunos mitos y al- gunas escenas son especialmente significativas porque su conoci- miento revelan una parte de la realidad griega y romana que tan sólo a través del arte podemos conocer. El objetivo de este trabajo es – desde una perspectiva histórica clara y delimitada- describir y definir algunos de los modelos iconográficos y de los temas que son comunes en el arte griego y romano para, posteriormente, generar conclusiones y modos de conocimiento de la sociedad antigua como un todo en la que el arte tiene un claro papel estructurador. Hemos intentado, por lo tanto, exponer además de los temas y modelos iconográficos que se vienen repitiendo desde hace décadas en los manuales (la religión, la guerra, la mujer, la muerte), otros que por menos conocidos no dejan de arrojar tanta o más luz sobre cuestiones fundamentales para el espíritu griego y romano (la frontera y la migración, la cotidianeidad, el ocio, el juego). Palabras clave Iconografía, Grecia, Roma, arte, escultura, pintura. Abstract The study of the iconography of Greek and Roman art reflects the complexity and the number of variants found in classical art forms. Some figures, some myths and some scenes are especially significant because they reveal a knowledge of Greek and Roman reality that only through art we can know. The objective of this book is, from a delimited historical perspective, describe and define some of the iconographic models and subjects that are common in Greek and Roman art to subsequently generate conclusions and modes of knowledge of ancient society as a whole in which art has a clear structuring role. We have tried, therefore, to expose further the subjects and iconographic models that have been repeated for decades in the handbooks (religion, war, women, death and other less known but are also fundamental in the knowledge of Greek and Roman culture (migration, the everyday life, leisure). Keywords Iconography, Greece, Rome, art, sculpture, painting. Índice Prólogo, por Pilar Diez del Corral Corredoira [ 13 ] GRECIA 1. Contexto histórico arte griego [ 19 ] 1.1. Período Geométrico [ 19 ] 1.2. Arte griego en el Período Arcaico [ 21 ] 1.3. El arte de la Grecia clásica (ca. 480-323 a.C.) [ 26 ] 1.4. La Grecia Helenística (ca. 323 a.C.-31 a.C.) [ 30 ] 2. Iconografías de la pintura de vasos [ 35 ] 2.1. La pintura de vasos ateniense [ 35 ] 2.2. El estilo de la Magna Grecia [ 38 ] 2.3. La expansión del modelo del sur de Italia [ 44 ] 2.4. El ejemplo de las hidras [ 51 ] 2.5. La cotidianeidad como iconografía [ 54 ] 3. Iconografías de la escultura [ 59 ] 3.1. El triunfo del bronce [ 59 ] 3.2. La técnica de la estatuaria de bronce [ 65 ] 3.3. Jugando con la escultura [ 69 ] 3.4. Una visión cultural de la escultura [ 73 ] 4. Iconografías de la mitología y la religión [ 81 ] 4.1. Dioses griegos y prácticas religiosas [ 81 ] 4.2. Hércules, paradigma y trabajos [ 84 ] 4.3. Teseo, héroe de Atenas [ 88 ] 5. Iconografías de la muerte [ 95 ] 5.1. La guerra y el guerrero [ 95 ] 5.2. El camino hacia el Más Allá [ 98 ] 5.3. Pintando la muerte en Alejandría [ 101 ] 6. Iconografías de la mujer [ 105 ] 6.1. La imagen de la mujer a través del arte [ 105 ] 6.2. La vestimenta femenina como seña de identidad [ 109 ] 6.3. La mujer de Tanagra [ 111 ] 6.4. Joyería helenística [ 113 ] 7. Iconografías culturales [ 117 ] 7.1. La música griega [ 117 ] 7.2. Cultura helenística [ 120 ] 7.3. Actividades intelectuales de la época helenística [ 124 ] 8. Iconografías de la migración y la frontera [ 129 ] 8.1. Chipre como frontera [ 129 ] 8.2. La antigua colonización griega [ 132 ] 8.3. Sardes y la frontera de Asia Menor [ 136 ] 8.4. La frontera africana [ 139 ] ROMA 1. Contexto histórico arte romano [ 145 ] 1.1. La República romana [ 145 ] 1.2. El poder de Augusto (27 a.C.-14 d.C.) [ 148 ] 1.3. La dinastía Julio-Claudia (27 a.C.-68 d.C.) [ 150 ] 1.4. La dinastía Antonina (138 d.C.-193 d.C.) [ 154 ] 1.5. La dinastía de los Severos y los Emperadores-Soldados (193-284 d.C.) [ 156 ] 1.6. Diocleciano, Constantino, y el Imperio Tardío (284-476 d.C.) [ 159 ] 2. Iconografías del espectáculo y el ocio [ 161 ] 2.1. El otium romano: una forma de vida [ 161 ] 2.2. Animales en la arena [ 164 ] 2.3. Teatro y cultura popular [ 168 ] 2.4. Anfiteatro [ 172 ] 2.5. Arte y vida en el banquete romano [ 174 ] 3. Iconografías de la pintura [ 181 ] 3.1. Pintura romana [ 181 ] 3.2. La Villa de Augusto en Boscotrecase [ 186 ] 3.3. Los frescos de Boscoreale [ 189 ] 3.4. La importancia de la villa [ 192 ] 4. Iconografías del vidrio y del cristal [ 105 ] 4.1. Vidrio romano [ 105 ] 4.2. Cristal de barro [ 197 ] 4.3. Cristal soplado [ 199 ] 4.4. Cristal de cameo [ 202 ] 5. Iconografías del lujo [ 205 ] 5.1. Roma y la recepción de la riqueza [ 205 ] 5.2. El cristal como símbolo del lujo [ 208 ] 5.3. Presencia y valor de los estucos romanos [ 211 ] 5.4. La vivienda romana [ 214 ] 6. Iconografías de la escultura y los sarcófagos [ 219 ] 6.1. La segunda vida de la escultura clásica: Roma 192-196 [ 219 ] 6.2. Color y vida de la escultura en mármol [ 224 ] 6.3. El retrato como estilo [ 223 ] 6.4. Esculpiendo en el tránsito: los sarcófagos romanos [ 231 ] 7. Iconografías de la frontera y la religión [ 237 ] 7.1. Arte popular y provincias romanas [ 237 ] 7.2. Las religiones orientales en el arte romano [ 243 ] 7.3. A modo de ejemplo: la cista de Praenestina [ 250 ] 7.3. El vínculo entre Roma y Asia [ 253 ] 7.4. El arte del Egipto romano [ 253 ] Índice de figuras [ 257 ] Bibliografía [ 263 ] Prólogo L AUTOR DE UN MANUAL carga sobre sus espaldas con una enorme responsabilidad para con sus lectores, muy superior E a la de cualquier académico que se enfrenta a un tema alta- mente especializado, puesto que el objetivo principal de su obra es acompañar en sus primeros pasos al lego y, por tanto, el modo en que transcurra esa fase de transición hacia el conocimiento deseado, marcará profundamente su percepción de la disciplina. Sin embargo, en demasiadas ocasiones escuchamos que se trata “sólo de un ma- nual”, “algo sin importancia”, “es para estudiantes”, desvirtuando así el valor intrínseco de la transmisión del conocimiento, porque no hay que olvidar que todos fuimos principiantes alguna vez y que la mayoría de las áreas del saber muchas veces adolecen de una terrible falta de obras de referencia de calidad para orientar a los lectores curiosos. La Historia del Arte disfruta del raro honor de haber contado entre sus filas con el historiador Sir Ernst Gombrich, que dotó a la disci- plina del manual más popular de la historia. Cuando en 1950, Gom- brich, ya exiliado en Londres, publica su The Story of Art, lo hizo bá- Iconografías del arte antiguo: Grecia y Roma [ 13 ] sicamente para sobrevivir y poco podía imaginar la larga fortuna que tendría su libro, convirtiéndose en un éxito de ventas desde ese mismo momento hasta hoy (más de siete millones de ejemplares en inglés y traducido a treinta lenguas)1.
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