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Everyone knows that the Romans not only is a sacred art, but - also, and fundamentally, is an entire structural system that shines through and materialize a particular form of understanding the world. Through his eyes, offered and gives a didactic image that reflects the social, moral and political institutions. Therefore, because the images are only representations of history and men who have done, is what is so important to have access to a deep knowledge of the forms of "Language" through which to express, manifest, outward and reve-la.
must understand that our perception of the Romanesque image is different, psychologically and culturally, which carried out the medieval man. The image of medieval men did the surrounding objects, animals, forests and even natural events, was imbued with a variety of interpretations.
Nothing was limited solely to physical existence. The Romanesque figurative world, full of symbolism, always points at both the good and the bad. All are closely linked by an intertwining of similarities and belongings and, under the appearance, sleeps else.
Medieval man continually builds relationships that link the external appearance of the supernatural world and a supreme truth. However, these relations are not always clear-cut or completely valid, but that consideration of its symbolic meanings are produced by raising certain properties that are related.
One way of "seeing" the Roman would be that, lacking the basic methodological approaches to a purely descriptive and formal approach.
For these "eyes" of looking at the operation is might be called "descriptive."
is one in which there is no need to explain how it occurs, which considers the image and its context as naive, transparent and free: a simple example of how certain social events, political, its moral and ideological time. A second way to "see" the Romanesque is one that provides its symbolic key from the metaphysical point of view. The operation that is viewed by some "intellectualized eyes.
These shift the burden of the response to the study of symbol and the relationship analogue between the idea and image that represents it. Since the symbol does not express or explain, and its own essential character allows an interpretation polysemous in different orders or levels of reality, requires an intellectual activity that involves meditation to intuition, spiritual understanding, the order of reality or suggest you refer to.
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Here the law of correspondence or analogy, because it is the basic and fundamental principle of the symbolism. Hence, in this degree of vision or reading, each person entering the privacy of the symbol as their intellectual skills. It adds the possibility of falling into reductionist a serious error that can lead to systematic symbols and want to look for interpretive keys trying to pass as a preconceived scheme all of its symbolic meaning, this is where they produce what we call "Romanesque Falls."
And finally, there is a third way to see the Romanesque. is one that is done with "critical eye."
The one who believes that the Roman element content is to be done and his vision or contemplation must restructure through dialectic between observer and observed. C onsider Romanesque image as a combining of signs that the observer must decode to recode and place it in a new level of significance.
The one that goes beyond mere text of the object referred to, relates to the context, because he understands that his look has to be, at the same time, synchronic and diachronic, since only then can include it in its formal description to retrace their steps and get to know, in sync, its entire structure is what really makes it significant.
The critical eye is you notice that only the dialectical sense is the true reality of the image. Serves, not the primary reference, but the mode of representation, reference or ideological level. Combat sacred symbol of magic and implies a critical insight into the basic content assuming a relationship of dialogue with the author of the work.
Only if they do, if you look, our eyes rewrite transforming reality through our conscious practice.
This sculptural representation of s. XII was reused on the facade of a house in Girona where he remained for centuries.
Eyes with cataracts Romance identified animal to a wolf, which gave rise to many erroneous myths and legends associated with it. Even the street was located came to adopt the name of "Carrer del Llop.
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took much time to appear around ..... critical eye and found that in fact it was the widespread lion scene clutching a human prey, a performance which usually occurs in lean or both sides of the doors of the temples, especially in the southern Romanesque and whose meaning has nothing to do with the legends that are told about it.
Health and Romanesque
