Identificador: TDX:386
Autores: Lozano López, Esther
Resumen:
The present doctoral thesis studies the doorway of Santo Domingo in Soria, one of the most interesting urbain parishes in the Iberian Peninsula. The analysis has been done from a global perspective that includes history, historiography, architecture and sculpture. In order to prepare the monograph the iconographic mean of images has been examined in relation to the texts and in comparison with other works in the same artistic sphere; in the same way the stylistic features and their links with certain ateliers in the peninsular kingdoms have been studied.The investigation shows that the Sorian church belongs to a Spanish tradition, in such a way that the explanation of the façade tipology cannot only be understood by the French connection. The temple is the result of the enlarging of the building before 1148, and the most interesting part of the reconstruction during the second half of the twelfth century is, without doubt, the façade. The sculpturing cycles of its doorway are one of the most complete preserved at the present time, and also the programme lets us go into some of the main concerns of the Spanish Church (the double nature of Christ and the Trinity). The tympanum shows one of the five figural reliefs of the trinitary Paternitas that survives in all of the Romanesque context, a peculiar Tetramorph held in angel's breast and two figures placed in the laterals. Meanwhile, several biblical stories that complete the central theme (Genesis, Acts of the Apostles, Infancy, Passion and Glory) are developed in the ornamental archivolts and in the capitals. Although the scarce connections of certain peculiarities of form and theme aren't explained better than by what we know of Byzantine models, there is sufficient evidence to suggest that in certain silesian dependences there have been similar themes.The Sorian artists came from El Burgo de Osma focus, and their style is the fruit of a Spanish tradition that is located in Castile with interesting connections in Aragon and Navarre. Iconographically and stylistically Santo Domingo reflects the tendencies of the moment and the parallels that have been established with the main ateliers suggest that around 1170 the façade could have been carried out.Understood among the silesian's concepts, the Osma's style and the byzantine's themes with certain contributions of other peninsular centres, the importance of Santo Domingo is reflected in the multiple connections that can be established by a rigorous analysis of the whole.
Repositori URV