Claustrum animae o la edificación del alma. Las escenas constructivas del claustro de Santa María la Real de Nieva (Segovia)
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2014
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Gómez-Chacón, Diana Lucía. «“Claustrum animae” o la edificación del Alma. Las escenas constructivas del claustro de Santa María de Nieva». Anales de Historia del Arte 24, n.o 0 (21 de mayo de 2015): 59-77. https://doi.org/10.5209/rev_ANHA.2014.v24.48691.
Abstract
El presente trabajo se centra en el análisis iconográfico de las escenas constructivas conservadas en el claustro del antiguo convento dominicano de Santa María la Real de Nieva en Segovia, fundado por Catalina de Lancaster en 1399. Estos relieves habían sido hasta ahora interpretados como meras representaciones de los frailes participando activamente en las obras del monasterio, escenas de género útiles para el estudio de los sistemas constructivos en la Edad Media, o incluso, retratos de los Dominicos que habitaban el convento hacia 1400. Sin embargo, cabe la posibilidad de que hubiesen sido en origen concebidos como un instrumento para la edificación espiritual de la comunidad de religiosos, y muy especialmente, de los novicios, en un momento en el que la Orden de Predicadores estaba siendo reformada.
This paper aims to examine the building scenes preserved in the cloister of the former Dominican convent of Santa Maria la Real de Nieva in Segovia, founded by Catherine of Lancaster in 1399. These sculptural reliefs had been previously interpreted as mere representations of the Dominican friars, actively involved in the construction of the convent, genre scenes useful for the study of medieval building systems, or even portraits of the friars who inhabited the convent around 1400. Nonetheless, these scenes could have been originally conceived as an instrument for the spiritual edification of the religious community, and most especially, of its novices, in a time when the Order of Preachers was being reformed.
This paper aims to examine the building scenes preserved in the cloister of the former Dominican convent of Santa Maria la Real de Nieva in Segovia, founded by Catherine of Lancaster in 1399. These sculptural reliefs had been previously interpreted as mere representations of the Dominican friars, actively involved in the construction of the convent, genre scenes useful for the study of medieval building systems, or even portraits of the friars who inhabited the convent around 1400. Nonetheless, these scenes could have been originally conceived as an instrument for the spiritual edification of the religious community, and most especially, of its novices, in a time when the Order of Preachers was being reformed.