tag:blogger.com,1999:blog-82655872799021465712024-03-06T02:26:38.639+01:00Historias de Ana. Blog de Arte y DiseñoBlog educativo dedicado a la Historia del Arte en general, y a la Historia de las Artes Decorativas y el Diseño en particular. Historia de la Indumentaria. Fundamentos del Arte I y II.Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.comBlogger461125tag:blogger.com,1999:blog-8265587279902146571.post-66954675494246678902024-02-21T14:01:00.000+01:002024-02-21T14:01:00.115+01:00CINE E INDUMENTARIA: LA EDAD MEDIA<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLq9hUNItuuVWbQAv6YcquExWAU8-gxtYnWVLhpP2epqSnrWGH9FFOMm_Rrvx3bqJVngrPGOl6iM6WtztTGXSp9jTGVHcvQgAKufNcTpW6mnYHniWSXVMpLIMzXhyzk95q8bVbeyMf49pa/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLq9hUNItuuVWbQAv6YcquExWAU8-gxtYnWVLhpP2epqSnrWGH9FFOMm_Rrvx3bqJVngrPGOl6iM6WtztTGXSp9jTGVHcvQgAKufNcTpW6mnYHniWSXVMpLIMzXhyzk95q8bVbeyMf49pa/s640/1.tiff" width="464" /></a></div>
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<span style="font-size: x-large;">¡Saludos!</span></div>
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<span style="font-size: x-large;">Para recrear la <b>indumentaria medieval</b>, el cine puede ser de gran ayuda. Aquí os dejo varios enlaces a <i>trailers </i>de películas muy recomendables ambientadas en la Edad Media -tanto Europa occidental cristiana como el Imperio Bizantino-.</span></div>
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<span style="font-size: x-large;"><b>Lady Halcón</b> (Richard Donner, 1985). </span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/iP8k37sEy-U" width="560"></iframe><br />
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<span style="font-size: x-large;"><b>El reino de los cielos </b>(Ridley Scott, 2005)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/s8rlIQaAGJY" width="420"></iframe><br />
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<span style="font-size: x-large;"><b>La princesa prometida </b>(Rob Rainer, 1987)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/VYgcrny2hRs" width="420"></iframe><br />
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<b style="font-size: xx-large;">El primer caballero </b><span style="font-size: x-large;">(Jerry Zucker, 1995)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/0Jl1uB7UnwU" width="560"></iframe><br />
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<b style="font-size: xx-large;">Excalibur </b><span style="font-size: x-large;">(John Boorman, 1981)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/z95d81XunaE" width="560"></iframe><br />
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<b style="font-size: xx-large;">Willow </b><span style="font-size: x-large;">(Ron Howard 1988)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/D-P03NGSP6Y" width="420"></iframe><br />
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<b style="font-size: xx-large;">Teodora, emperatriz de Bizancio </b><span style="font-size: x-large;">(Ricardo Fredda, 1954)</span><br />
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<span style="font-size: x-large;">Y toda las películas de</span><b style="font-size: xx-large;"> Shrek (</b><span style="font-size: x-large;">Andrew Adamson, Vicky Jenson, 2001)</span><br />
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<span style="font-size: x-large;">Por lo que se refiere a las <b>series de televisión</b>, quiero destacar las basadas en las magníficas novelas de Ken Follet, </span><b style="font-size: xx-large;">Los pilares de la tierra </b><span style="font-size: x-large;">(2010, </span><span style="font-size: x-large;">Sergio Mimica-Gezzan)</span><b style="font-size: xx-large;"> </b><span style="font-size: x-large;">y</span><b style="font-size: xx-large;"> </b><b style="font-size: xx-large;">Un mundo sin fin </b><span style="font-size: x-large;">(2012, </span><span style="font-size: x-large;">Michael Caton-Jones)</span><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/ys8X3kJT0rw" width="560"></iframe></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/IvDP_opSbzA" width="420"></iframe><br />
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<span style="font-size: x-large;">Y la excelente </span><b style="font-size: xx-large;">Juego de Tronos </b><span style="font-size: x-large;">(2011</span><b style="font-size: xx-large;">, </b><span style="font-size: x-large;">David Benioff, D.B. Weiss)</span><span style="font-size: x-large;">,</span><b style="font-size: xx-large;"> </b><span style="font-size: x-large;">con una</span><b style="font-size: xx-large;"> </b><span style="font-size: x-large;">espléndida ambientación e indumentaria claramente </span><b style="font-size: xx-large;">medievalizante, </b><span style="font-size: x-large;">en concreto de la</span><b style="font-size: xx-large;"> Baja Edad Media</b><span style="font-size: x-large;">: y es que </span><span style="font-size: x-large;">parecen evidentes las referencias a la Guerra de las Dos Rosas entre los Lancaster y los York...</span><br />
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com1tag:blogger.com,1999:blog-8265587279902146571.post-6504006768857791442024-01-29T22:46:00.000+01:002024-01-29T22:46:29.957+01:00EL TAPIZ DE BAYEUX: ARTE, HISTORIA E INDUMENTARIA EN UN BORDADO MEDIEVAL<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLrnyqB-eF-MRvwfqUeKJza_mzrX7K56IaNv6F1dEAIIAY9RTsBg_hnaMO3tvJpKGltrK8VT6SVIygvWMl18zFlZkoPD808Ag6PmrawhoUqJYkHDEQhPB1w9pVZ3nHc2AWAh-h425TtAnQkj9QVWhaMIcwPKDN54vGC-eBX7cfjRZLfYSxCdIUfiE/s1280/Odo_bayeux_tapestry.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1280" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLrnyqB-eF-MRvwfqUeKJza_mzrX7K56IaNv6F1dEAIIAY9RTsBg_hnaMO3tvJpKGltrK8VT6SVIygvWMl18zFlZkoPD808Ag6PmrawhoUqJYkHDEQhPB1w9pVZ3nHc2AWAh-h425TtAnQkj9QVWhaMIcwPKDN54vGC-eBX7cfjRZLfYSxCdIUfiE/w577-h419/Odo_bayeux_tapestry.png" width="577" /></a></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Una escena del tapiz de Bayeux: representa al obispo Odon de Bayeux con un mazo en la batalla de Hastings, animando a la lucha a los combatientes. El clero no podía participar en las batallas con espadas. Fuente de la imagen: Wikipedia</span></div><br /><p></p><p style="text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">En la ciudad francesa de Bayeux (Calvados), muy cerca de las playas del célebre Desembarco de Normandía, se encuentra el museo que alberga una de las obras de artes textiles más célebres y mejor conservadas de toda la Edad Media: el tapiz de Bayeux.</span></span></p><p><span style="font-family: times;"><span style="font-size: large;"><br /></span></span></p><p><span style="font-family: times;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMYd9GM2NqwQF8oCSJygY4-EvWvO1e_eur6QbuBeyn7Uno1EqQRxnvJCcrDFrBTLrvRkaO-IF4sjzpskQGnCqoUSjM1V8ZT2YpbLruZVgq4vz_UkjhoZ7fGgm1dFUI1gNe-ksafsOlPNK7WGCdLPZLIBRpce-hU6xMvPiUZtbDTkvIgIiItEN_tq6T/s645/bayeux.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="645" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMYd9GM2NqwQF8oCSJygY4-EvWvO1e_eur6QbuBeyn7Uno1EqQRxnvJCcrDFrBTLrvRkaO-IF4sjzpskQGnCqoUSjM1V8ZT2YpbLruZVgq4vz_UkjhoZ7fGgm1dFUI1gNe-ksafsOlPNK7WGCdLPZLIBRpce-hU6xMvPiUZtbDTkvIgIiItEN_tq6T/s320/bayeux.png" width="320" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: times;"><span> <span> <span> <span> <span> <span> <span> <span> <span style="font-size: medium;"> </span></span></span></span></span></span></span></span></span></span><span style="font-family: times; font-size: medium;">Fuente de la imagen:http://francegeo.free.fr/ville.php?nom=bayeux<br /></span><span style="font-size: large;"><br /></span><p></p><p><span style="font-family: arial; font-size: large;"></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3SWpDmxfCBee4gfQO7o0TBJXbeFeJQYb0sS2qLYxOjACwuxa2GbHAeY-j-HJKP2Y5tQ1lUlitkRJrmguoaVoy384CBL7Vv6AMW7t_KpTPb8Vwak1Oa9rAMWV-MQTHy1SXYGdUx6a8MWDxEIc_hwJYm40BZ7JFrojYbNuqNeO6n5-TpnxvscB9x4B/s4608/20220805_103418.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3456" data-original-width="4608" height="413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3SWpDmxfCBee4gfQO7o0TBJXbeFeJQYb0sS2qLYxOjACwuxa2GbHAeY-j-HJKP2Y5tQ1lUlitkRJrmguoaVoy384CBL7Vv6AMW7t_KpTPb8Vwak1Oa9rAMWV-MQTHy1SXYGdUx6a8MWDxEIc_hwJYm40BZ7JFrojYbNuqNeO6n5-TpnxvscB9x4B/w551-h413/20220805_103418.jpg" width="551" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqZHm0yRrb04IFLQ0B8jIWWnW3bAXDYbrrgEaWqzNQ8VJRTXTkTVYe6-KNqrY9zvUDqHPJPyR1Hn77lPmdj8am-l5JhAWu0Hcvo-dx0llBA0bF_MROzDvK2LkPevfnZSuvyvMFWGqW2gfC5ObnFtl2trygYEipbdrUctjI5Lnchm8xFfyfyyJTgjK7/s3264/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqZHm0yRrb04IFLQ0B8jIWWnW3bAXDYbrrgEaWqzNQ8VJRTXTkTVYe6-KNqrY9zvUDqHPJPyR1Hn77lPmdj8am-l5JhAWu0Hcvo-dx0llBA0bF_MROzDvK2LkPevfnZSuvyvMFWGqW2gfC5ObnFtl2trygYEipbdrUctjI5Lnchm8xFfyfyyJTgjK7/w349-h466/2.jpg" width="349" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium; text-align: justify;">Imágenes de la imponente catedral de Bayeux comenzada en estilo románico en el siglo XI y terminada en estilo gótico en el siglo XV</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJW41OEtWcPcGlPEmV8GUpRlr5wF5RF0kj63xZEygkvl-MU_hqGoiIDvUkRYxSAOKadJx58ArSJo_IqP9yalqmxTs19_6JzQICXD0XdAOYe-hx-B4VnWbK-LH9qJkLeA3J3hshnHva5DIEhxqFxcl85rekhyPelZnzg0XR03yyUi-WgY5Vv3EuHxYm/s3264/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2448" data-original-width="3264" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJW41OEtWcPcGlPEmV8GUpRlr5wF5RF0kj63xZEygkvl-MU_hqGoiIDvUkRYxSAOKadJx58ArSJo_IqP9yalqmxTs19_6JzQICXD0XdAOYe-hx-B4VnWbK-LH9qJkLeA3J3hshnHva5DIEhxqFxcl85rekhyPelZnzg0XR03yyUi-WgY5Vv3EuHxYm/w572-h430/1.jpg" width="572" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;">Un antiguo molino hidráulico de la ciudad de Bayeux</span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span><span style="font-family: times; font-size: x-large;"><b>¿Tapiz o bordado?</b></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span><span style="font-family: times; font-size: x-large;"><b> </b></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span style="font-size: x-large;">El tapiz de Bayeux, que está indisolublemente ligado a la ciudad de la que porta el nombre, ha tenido diversas denominaciones a lo largo de la historia:"<i>Telle du Conquest</i>" (la tela de la Conquista), el tapiz de la reina Matilde...<br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-family: times; font-size: x-large;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">En verdad, no es un tapiz sino un bordado realizado en lino con hilo de lana de oveja. </span><span style="font-family: times;">El equívoco surgió a inicios del siglo XVIII, cuando fue reedescubierta y definida como <i>tapisserie</i> </span><span style="font-family: times;">(tapiz) en vez de bordado. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><div class="separator" style="clear: both; font-size: xx-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3n3qGHLn5SFmtyISsQmK1OYJPdxbzo44mrLxMfQIK1dfKTKRGHy6YiTn02PB2y4dDNA50mmQy0ix1bm0sWvOQzmI0405CjuNNixa_HsKF3WdkISwz8725GL91mnB_lV9X86ee0zjHvEWFHrV1VfJdPrd_fHLrDNqLuJ1uuNn9bGrLUAP4FSAfNKAT/s407/bay_tapi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="285" data-original-width="407" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3n3qGHLn5SFmtyISsQmK1OYJPdxbzo44mrLxMfQIK1dfKTKRGHy6YiTn02PB2y4dDNA50mmQy0ix1bm0sWvOQzmI0405CjuNNixa_HsKF3WdkISwz8725GL91mnB_lV9X86ee0zjHvEWFHrV1VfJdPrd_fHLrDNqLuJ1uuNn9bGrLUAP4FSAfNKAT/w503-h353/bay_tapi.jpg" width="503" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span>Detalle del bordado del tapiz de Bayeux. Fuente de la imagen:http://www.hs-augsburg.de</span><br /></span></div></span></span><span style="font-size: medium;"><span><span style="font-family: times;"></span></span><span><span style="font-family: times;"></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: medium;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">Se utilizaron diez colores diferentes obtenidos de tres tintes vegetales: royuela (para el rojo, naranja, rosado o marrón), </span><span style="font-family: times;">gualda (para el amarillo) y pastel (para distintos tipos de azul y verde).</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Está compuesto por nueve piezas o fragmentos de lino. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">A pesar de su fragilidad, nos ha llegado casi intacta, aunque los últimos metros no se han conservado. </span></span><span style="font-family: times;"><span style="font-size: x-large;">Esta obra presenta un carácter único en su género. Aún así, conviene recordar que en el Museo Capitular de la Catedral de Gerona se conserva otra pieza excepcional de arte textil medieval: el tapiz de la Creación, también del siglo XI. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdw4W9o6-5xwBkOwJ3AcmgGw4zkDXteP5-8HGS1U_cV7Mqx-we5G70z_Z69tUdS--plRpMqGgEFMWtnfoj0mNxAUxmyRxnGc6QlPiixoLQOzl_IrEOK9P98NqwlaiWIbGwV-I851_ajIoFNxvp9viP-0cSDX0V5GGmTy2qZA3Dw9zzMk1gRDN1EB-/s1280/1280px-Tap%C3%ADs_de_la_Creaci%C3%B3-_Tap%C3%ADs_restaurat._Anvers.jpg" style="font-family: times; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1014" data-original-width="1280" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQdw4W9o6-5xwBkOwJ3AcmgGw4zkDXteP5-8HGS1U_cV7Mqx-we5G70z_Z69tUdS--plRpMqGgEFMWtnfoj0mNxAUxmyRxnGc6QlPiixoLQOzl_IrEOK9P98NqwlaiWIbGwV-I851_ajIoFNxvp9viP-0cSDX0V5GGmTy2qZA3Dw9zzMk1gRDN1EB-/w546-h433/1280px-Tap%C3%ADs_de_la_Creaci%C3%B3-_Tap%C3%ADs_restaurat._Anvers.jpg" width="546" /></a></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">El tapiz de la Creación en realidad es un bordado románico, de hecho es denominado también como el Bordado de la Creación. Fuente de la imagen: Wikipedia.</span><br style="font-family: times;" /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"><b>Entre la historia y el mito: la conquista normanda de Inglaterra</b></span><span><span style="font-family: times;"><span></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span style="font-size: x-large;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;"><span style="font-family: times;"><span>Este tapiz </span></span>es una obra maestra del arte medieval con escenas profanas que abarcan desde expediciones militares hasta la construcción de naves o celebración de banquetes. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">Estilísticamente es románica, de la Plena Edad Media, por lo tanto presenta concomitancias con la pintura y las artes decorativas de esa época. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">Los principales convencionalismos artísticos que aparecen son:</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">*Ausencia de la tercera dimensión.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">*Superposición de imágenes para crear profundidad.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">*Jerarquización de tamaño.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">*Esquematismo, simplificación de formas y contornos marcados.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">Por lo demás, encontramos ciertos detalles realistas en la indumentaria, las armas o el mobiliario y una viva policromía.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span style="font-size: x-large;"><span>Cronológicamente cabe fechar esta pieza en la segunda mitad del siglo XI, aproximadamente hacia el año 1077. </span><span> </span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"><span>La importancia del tapiz de Bayeux no es solo artística sino también histórica ya que nos narra una auténtica epopeya: </span><span><span><span>la
conquista normanda de Inglaterra, liderada por Guillermo
el Conquistador, duque de Normandía. Venció en la batalla de Hastings
(14 de octubre de 1066) a su rival, el monarca anglosajón Harold II de
Wessex, y el normando fue coronado como rey de Inglaterra el 25 de
diciembre de 1066 en la Abadía de Westminster de Londres. <span> </span></span></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span><span style="font-family: times;"><span><span><span>El tapiz nos</span></span></span></span></span></span><span style="font-family: times; font-size: x-large;"> muestra en imágenes y en detalle esta invasión normanda en la que no faltan los principales personajes (como el rey Eduardo el Confesor o Guillermo el Conquistador), las referencias arquitectónicas, los <i>drakkars </i></span><span style="font-family: times; font-size: x-large;">o los animales. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Hay que señalar que después de semejante hazaña del duque normando ningún monarca o dirigente político volverá a conquistar Inglaterra: ni los reyes Capetos del siglo XIII, ni los Valois del XIV, ni Napoleón en el XIX, ni Hitler en la II Guerra Mundial. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"><span>El tapiz de Bayeux cuenta la historia desde el punto de vista de los conquistadores normandos aunque es ampliamente aceptado que este tapiz fue realizado en el sur de Inglaterra: posiblemente en la </span></span><span style="font-family: times;"><span><span style="font-family: times;"><span>Abadía de San Agustín de Canterbury. Otra hipótesis es que pudo ser bordada en el valle del
Loire, en la abadía de Saint-Florent de Saumur.</span></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span style="font-family: times;"><span style="font-size: x-large;"> </span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">El primer testimonio de la existencia del tapiz data del año 1476, ya que aparece en un inventario de la catedral de Notre-Dame de Bayeux. Se conservó durante siglos en un cofre de madera del Tesoro de la catedral. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXWwr5s0bJRfdQ5acP_e7P1bCd6EP6ja1XTbvSscOx8AZGvG7wop1fWuqEv2T_qRwP1bvJnrkUua-JXTGLyFbT1guxLWMhTmz4x9uJM-rOW1RnniFheVsDPqtRV9an8LIoJVxL3lAAmrMmX4qUUQn1A852MyZLreD4Q_0zS5-X433xhIMvo-c-yBX/s300/bayeux-coffre.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="202" data-original-width="300" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXWwr5s0bJRfdQ5acP_e7P1bCd6EP6ja1XTbvSscOx8AZGvG7wop1fWuqEv2T_qRwP1bvJnrkUua-JXTGLyFbT1guxLWMhTmz4x9uJM-rOW1RnniFheVsDPqtRV9an8LIoJVxL3lAAmrMmX4qUUQn1A852MyZLreD4Q_0zS5-X433xhIMvo-c-yBX/w465-h313/bayeux-coffre.jpg" width="465" /></a></div></span></span><span style="font-family: times;"><span style="font-size: large;"> </span></span><span style="font-family: times;"><span><span><div class="separator" style="clear: both; font-size: medium; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span><br /></span></span></span></div><span style="font-size: medium;">Cofre de madera donde se guardó durante siglos el tapiz de Bayeux. Fuente de la imagen: www.herodote.net<br /></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: small;"><span> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><b>Comitente, función y significación</b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><b><br /></b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">El tapiz de Bayeux suscita numerosas interrogantes y debates: el misterio rodea su creación dada la ausencia de fuentes históricas. No se sabe con certeza quién fue el comitente o dónde se realizó esta obra. Desconocemos la identidad de los bordadores que lo realizaron. <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Contrariamente a la creencia popular legendaria, no fue la reina Mathilde, esposa de Guillermo el Conquistador, acompañada de sus damas de compañía quién confeccionó el tapiz. Así ha sido representada míticamente en el arte, por ejemplo, por parte de algún pintor del siglo XIX de estética <i style="font-family: times;">trobadour </i>(trovador) como Alfred Guillard.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><img border="0" data-original-height="320" data-original-width="239" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizZCfD2B0_pk1w2ohEtpWYfZQlJydJSMvF5sZ_WsFbNrgnZ5Xu2vrbQxTDFg6PRpg88nCRiC1jWPL4xnc1frFxpTFhOGcxkA43DkI_LRSQIeXj5-7cHoPKMmc4ve5x7ZoJm-wUI_-Pssn5MvmaHrNw66NqvGzwo1w_WJsQVlVuk_c8sVed3KWxVnq6/w464-h622/447px-MAHBMathilde.jpg" style="caret-color: rgb(0, 0, 238); color: #0000ee; font-family: -webkit-standard; text-decoration: underline;" width="464" /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;"><span>Alfred Guillard, <i>La Reine Mathilde travaillant à la Telle du Conquest</i>, </span><span>1848. Museo de Arte e Historia Barón Gerard (MAHB), Bayeux. Fuente de la imagen: Wikipedia </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">La hipótesis historiográfica más aceptada es que la elaboración del tapiz fue un encargo de Odo u Odón de Conteville (1030?-1097), obispo de Bayeux, hermanastro de Guillermo y figura capital en la conquista normanda de Inglaterra ya que colaboró activamente en la misma. Fue el primer conde de Kent. Amasó una fortuna colosal, convirtiéndose en uno de los hombres más poderosos de la Inglaterra normanda. Finalmente cayó en desgracia y fue encarcelado por Guillermo el Conquistador.</span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhim7zvwhNRX8vidhlNvk1s3UIVfNKr--bo-zwkDGsd0er7_Qu8HkJ_j5-Ik1b91gPv-Mfoz0LvRJx7YLAexbvSoknc55F2HO3CG43c7pamVS-AlCAvcCkGNHU-f2jKfC6q-K6o4lWEot2rE2A4t5zQp6ZqSAODsRE666cklGhwtG49VxF_K90Z5FJg/s149/Odo.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="149" data-original-width="103" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhim7zvwhNRX8vidhlNvk1s3UIVfNKr--bo-zwkDGsd0er7_Qu8HkJ_j5-Ik1b91gPv-Mfoz0LvRJx7YLAexbvSoknc55F2HO3CG43c7pamVS-AlCAvcCkGNHU-f2jKfC6q-K6o4lWEot2rE2A4t5zQp6ZqSAODsRE666cklGhwtG49VxF_K90Z5FJg/w214-h310/Odo.png" width="214" /></a></div><span style="font-family: arial;"><span> <span> <span> <span> </span></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEMMqkPfwtCdr0z_kwj2V0J_zeROqIDAHU2lLUKLQHbktPVz-5RhUcdTBZfHGi8EHD7l60wwnDXt-x4lZPX-jcUHKbuqlUDldIUJdNrSvCp9mdrsLvbCKw9jlwXipKCvlEllIypcB_Ue4Aonqry-8oxE_Buhp02kH66q5CRTviSlPYlOQJgYC41Eh/s368/Odo_of_Bayeux.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="200" height="565" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbEMMqkPfwtCdr0z_kwj2V0J_zeROqIDAHU2lLUKLQHbktPVz-5RhUcdTBZfHGi8EHD7l60wwnDXt-x4lZPX-jcUHKbuqlUDldIUJdNrSvCp9mdrsLvbCKw9jlwXipKCvlEllIypcB_Ue4Aonqry-8oxE_Buhp02kH66q5CRTviSlPYlOQJgYC41Eh/w307-h565/Odo_of_Bayeux.jpg" width="307" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;">Escena 43 y 44: Odón de Bayeux, posible comitente del tapiz de Bayeux. Fuente de la imagen: Wikipedia</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span><span style="font-size: x-large;">Por lo demás es bastante verosimil que Odo fuera el comitente porque el tapiz fue realizado <i>ex profeso</i> para ser expuesto en los muros, sobre la arcada de de la nave central de la catedral de Bayeux, ciudad de la que él era obispo. </span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span><span style="font-size: x-large;">Otros posibles comitentes pudieron ser la reina Édith, Eustache de Boulogne, el abad Baudri de Bourgueil...</span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span><span style="font-size: x-large;">El tapiz se conservó en la catedral durante siglos y cada 14 de julio desde la consagración de esta iglesia hasta la Revolución francesa, se mostraba en este edificio, coincidiendo con la <i>Fête de Reliques </i>(la fiesta de las reliquias).</span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span><span style="font-size: x-large;"><div class="separator" style="clear: both; font-family: -webkit-standard;"><span><span style="font-family: times;"><span style="font-family: times;">El tapiz de Bayeux no es una mera pieza decorativa u ornamental. </span>No puede pasar desapercibido el hecho de que un textil profano -aunque en ella estuviera implicado el obispo- tuviera una finalidad expositiva en un edificio religioso como es una catedral. </span></span></div><div><span style="font-family: times; font-size: x-large;">Era en el fondo y en la forma una manera de legitimar la conquista de Inglaterra, exponiéndola de forma didáctica en un edificio religioso para un público mayoritariamente analfabeto pero capaz de interpretar las imágenes. </span><span style="font-family: times; font-size: x-large;">Y es que el tapiz es una obra propagandística a mayor gloria de los normandos y de Guillermo el Conquistador, sin olvidarnos de su pariente Odón. </span></div><div><span style="font-family: times; font-size: x-large;"> </span></div></span></span></span></span><div style="text-align: center;"><span style="font-family: times;"><span><span><span style="font-size: x-large;"><div><span style="font-family: times; font-size: x-large;"> </span><span style="font-family: times;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaH9wKr6f2-olJ8bmpuHWFSZJfRIGv0UGdH7HMeguJKs_CjP4-jqIMHZuoFp2Zs6Ctp4khozgI-dM5IluePlkkogtbKcueGGcPOqW3ESX9SHmRZxRgqmeDK9mnfopKRr20w344p1XeMT1BJ94FsPrekWLsZ97EqFayQW9E__7WKIgA_mpK39BZR6jD/s498/guille.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="324" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaH9wKr6f2-olJ8bmpuHWFSZJfRIGv0UGdH7HMeguJKs_CjP4-jqIMHZuoFp2Zs6Ctp4khozgI-dM5IluePlkkogtbKcueGGcPOqW3ESX9SHmRZxRgqmeDK9mnfopKRr20w344p1XeMT1BJ94FsPrekWLsZ97EqFayQW9E__7WKIgA_mpK39BZR6jD/w255-h392/guille.png" width="255" /></a></span></span></div></span></span></span></span></div><span style="font-family: times;"><span><span><span><div style="font-size: xx-large;"><span style="font-family: times;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: medium;">Escena 44: Guillermo el Conquistador aparece sentado, símbolo de autoridad, portando una espada. Apoya los pies en un escabel. Fuente de la imagen: Museo de
Bayeux</span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: medium;"><br /></span></span></span></div><div><span style="font-size: x-large;">Sea como fuere, algunos investigadores han dejado entrever la posibilidad de que sea una obra un tanto equidistante entre normandos y anglosajones, incluso proinglesa.</span></div></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNN4IyJkhwHZT4ZTO63WiBO_AI_4uG4uRlHWYNB12xADwDzwolcZmS8Md22zxo-x8LVQsetieYNUAMdmlLfHHSMiWWKfJRaZnA34zZRgQ-1JU9B9TOgFeqVNjp8At0ruOJMqhD29sUeZFoX64mNLp-lXuKoj6tzHcGhvPhI-u8nAjCMz6lxbKi49rs/s770/tapis%20cate.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="439" data-original-width="770" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNN4IyJkhwHZT4ZTO63WiBO_AI_4uG4uRlHWYNB12xADwDzwolcZmS8Md22zxo-x8LVQsetieYNUAMdmlLfHHSMiWWKfJRaZnA34zZRgQ-1JU9B9TOgFeqVNjp8At0ruOJMqhD29sUeZFoX64mNLp-lXuKoj6tzHcGhvPhI-u8nAjCMz6lxbKi49rs/w615-h350/tapis%20cate.jpg" width="615" /></a></div><br /><span style="font-family: times;"><br /></span></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwru7exWJ735XwtcHwlWFswHJZyLPDMJ-gQUWLAxifPIImC69MVYIZuX0AMy6KXZY1aArGPP6Kb_5Os3nIhFLDBH_msrT-ogEt3LXIvzHTHK094Te1iOZcVIQmj6ZPGJM-lZpC4RvNG9H3_apUBvxrTtgTZ3L8SMw6Cjlsv5e0dpGZfzL4oCjtp_J/s1300/La-Cathedrale-de-Guillaume-4_Fotor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1300" data-original-width="800" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuwru7exWJ735XwtcHwlWFswHJZyLPDMJ-gQUWLAxifPIImC69MVYIZuX0AMy6KXZY1aArGPP6Kb_5Os3nIhFLDBH_msrT-ogEt3LXIvzHTHK094Te1iOZcVIQmj6ZPGJM-lZpC4RvNG9H3_apUBvxrTtgTZ3L8SMw6Cjlsv5e0dpGZfzL4oCjtp_J/w381-h618/La-Cathedrale-de-Guillaume-4_Fotor.jpg" width="381" /></a></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">En un espectaculo de luz y sonido que tuvo lugar en el año 2016 en la catedral de Bayeux se pudo apreciar una reconstrucción sobre cómo estaría dispuesto el tapiz en la catedral. </span><span style="font-family: times;">Fuente de las imagenes: <span style="text-align: left;">https://www.monpanorama.fr/cathedrale-guillaume-bayeux-son-lumiere/</span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">La finalidad de este tapiz no fue solo épica sino religiosa. La invasión normanda contaba con la bendición papal y fue vista como una especie de cruzada contra un supuesto perjuro anglosajón que acabó teniendo su castigo: Harold Godwinson, primo segundo de Guillermo y cuñado del rey inglés Eduardo el Confesor. Presumiblemente, Harold había prometido lealtad a Guillermo bajo juramente ante las reliquias de la catedral de Bayeux. Finalmente no lo cumplió y fue declarado rey de Inglaterra como Harold II el 6 de enero de 1066, aunque fue monarca por poco tiempo: murió en la batalla de Hastings, el 14 de octubre de ese mismo año. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzgBjJIKXNeiP8sKmglOH7T6D8vKvnK3HK9RSbU42APC5seWP7n0TqK68KN7iw4kqbD4aUAgnsCwkKSvwwRvgQ4bbYhZL5fzJiGxKM5sUv2CT46rgnCZ1cIRaNe_eyHWWLKFopNF6M5LGba1eYUExlNVTfcTLtjoYgEYnQKrW1Hxwu3Z9IIDE6c2H/s800/800px-Bayeux_Tapestry_scene23_Harold_sacramentum_fecit_Willelmo_duci.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="800" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzgBjJIKXNeiP8sKmglOH7T6D8vKvnK3HK9RSbU42APC5seWP7n0TqK68KN7iw4kqbD4aUAgnsCwkKSvwwRvgQ4bbYhZL5fzJiGxKM5sUv2CT46rgnCZ1cIRaNe_eyHWWLKFopNF6M5LGba1eYUExlNVTfcTLtjoYgEYnQKrW1Hxwu3Z9IIDE6c2H/w538-h367/800px-Bayeux_Tapestry_scene23_Harold_sacramentum_fecit_Willelmo_duci.jpg" width="538" /></a></div><span style="font-size: medium;"><span style="font-family: times;"> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-size: medium;"><span style="font-family: times;">Escena 23: el anglosajón </span></span><span style="font-family: times;"><span style="font-size: medium;">Harold Godwinson jura obediencia al duque Guillermo de Normandía como futuro sucesor al trono inglés, ya que así lo deseaba el monarca Eduardo el Confesor al que habría de suceder. Ese juramento se hizo sobre reliquias sagradas. Al parecer, Harold no respetó el juramento, y a la muerte de Eduardo el Confesor se hizo coronar como rey de Inglaterra. Para Guillermo el Conquistador este hecho será una excusa perfecta para la invasión normanda de Inglaterra.</span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: large;"><span style="font-family: times;"><span style="font-size: medium;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><b><span style="font-family: times; font-size: x-large;">Un "cómic" medieval</span></b></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Este lienzo bordado que es el tapiz de Bayeux es una crónica medieval que mide casi setenta metros de largo por medio de alto. Es uno de los precedentes remotos del <i>cómic</i>, como el mesopotámico Estandarte de Ur o la columna trajana de Roma.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Presenta 58 escenas que se distribuyen horizontalmente: 25</span><span style="font-family: times; font-size: x-large;"><span style="font-family: times; font-size: x-large;"> transcurren en Francia y 33 en Inglaterra</span>. Son imágenes acompañadas de textos explicativos en latín. El texto es meramente descriptivo, sin diálogos. Se cree que faltan escenas o que nunca llegó a ser terminado en su totalidad. Por ejemplo, no aparece la coronación de Guillermo el Conquistador en la Abadía de Westminster.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Las escenas se enmarcan en registros o bandas cuyos bordes, superior e inferior están decorados con imágenes de animales fantásticos o reales así como de fábulas -inspiradas en Esopo- o escenas de vida cotidiana como labores agrícolas. Aparecen un total de 626 personajes, 37 edificios, 41 navíos, 202 caballos y mulas, 55 perros, 49 árboles e innombrables objetos cotidianos de uso diverso.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"> </span><br /><div class="separator" style="clear: both; font-size: xx-large; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Ow3s_Kkr9C-FdchIMqCWIQi3G9U-ZU_JaffVQZ3N5pqzjXGxWLeJ9n6z5Jgghl3FT7mdvDylynWtjHJ4JqDRupAMhPvvdnk1pzSkY5ItBmnij0FUSahLZyZsPDM89e_KV-946_0JW45qevegGD-1ZIuiRTiOGefAUtlpCdr4ns4rXvX0AuA3voZE/s204/12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="190" data-original-width="204" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Ow3s_Kkr9C-FdchIMqCWIQi3G9U-ZU_JaffVQZ3N5pqzjXGxWLeJ9n6z5Jgghl3FT7mdvDylynWtjHJ4JqDRupAMhPvvdnk1pzSkY5ItBmnij0FUSahLZyZsPDM89e_KV-946_0JW45qevegGD-1ZIuiRTiOGefAUtlpCdr4ns4rXvX0AuA3voZE/w334-h311/12.jpg" width="334" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"> </span><span style="font-size: medium;"><span style="font-family: times;"><span>Detalle de la escena 12 en la que aparece el palacio ducal de Rouen. Fuente de la imagen: Wikipedia.</span></span><br /></span></div></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-family: times; font-size: medium;"><span> </span><span> </span><span> </span><span> </span><span> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">En cuanto a las referencias arquitectónicas, cabe destacar la presencia de numerosos castillos y palacios así como catedrales, iglesias y monasterios como la Abadía del Mont-St-Michel. Abundan elementos característicos de la arquitectura románica como los arcos de medio punto, columnas de capiteles variados y cubiertas a dos aguas.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXry8dAPXFxImTIC4v3StZScm9bljylXwZwNRP832-53O1QgD_RY7hJf9s4S5IYv5y6-vE2jz5rzmY8Mm9q0RQ-aQ6ro84i4_J8J94srHahOZlDJalIbguyw5I1xOunoy0tENe4m3lo9IZpXPmLWJENuVHoSkLCYZwMcTVfzl2KUmOrPNro2Nf0vi8/s600/BayeuxTapestryScene22.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="600" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXry8dAPXFxImTIC4v3StZScm9bljylXwZwNRP832-53O1QgD_RY7hJf9s4S5IYv5y6-vE2jz5rzmY8Mm9q0RQ-aQ6ro84i4_J8J94srHahOZlDJalIbguyw5I1xOunoy0tENe4m3lo9IZpXPmLWJENuVHoSkLCYZwMcTVfzl2KUmOrPNro2Nf0vi8/w574-h341/BayeuxTapestryScene22.jpg" width="574" /></a></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"> </span><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: medium;">Escena 22: aparece el duque Guillermo de Normandía llegando a Bayeux donde se aprecia un castillo representado de forma muy esquemática. <br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><span style="font-size: medium;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixcSDPRqtkH1vQwBmV_GREwAkHmTO3Sxa0-JTiU6rJOjdq5ZE8ZH-sNtvNPmEth6xtlx4Kou9YnXpB8k2EPH9bAx4Zt3F91V-gzMKBXm4ARvHstISJa9mFUzu6YpyF0EHhKaF1lxN-X3ohzYUXUqr_6HISvwwEFC1RO6VHHDuNJ3ulz90zlUYWKpRt/s580/mont%20st%20michel.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="580" data-original-width="481" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixcSDPRqtkH1vQwBmV_GREwAkHmTO3Sxa0-JTiU6rJOjdq5ZE8ZH-sNtvNPmEth6xtlx4Kou9YnXpB8k2EPH9bAx4Zt3F91V-gzMKBXm4ARvHstISJa9mFUzu6YpyF0EHhKaF1lxN-X3ohzYUXUqr_6HISvwwEFC1RO6VHHDuNJ3ulz90zlUYWKpRt/w353-h427/mont%20st%20michel.png" width="353" /></a></div><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span> Detalle de la escenas 16: la Abadía del Mont-St-Michel. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: medium;"> </span><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">No faltan las referencias al mobiliario, por ejemplo, los faldistorios con cojines y patas terminadas en cabezas y garras de león. Es habitual la presencia de un escabel para apoyar los pies. <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29kaP4N7nimHQFG2sjZ3ooAbTmh44wMIFPJZpNTZ4H-2ztkxbxgeM9KFuXe01Qdx9JYdQ2ufH45Xisdgx5ZgaYCDxbdgW3r0C2T-4NpaaRYMPF6_5Q54Mm_zsl521C177zoc6OdHjBf4zmFRkg4eiP9ReQcQbgtbD1EvVTRU88MqpikpBTtE4aasw/s626/BayeuxTapestryScene25.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="626" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg29kaP4N7nimHQFG2sjZ3ooAbTmh44wMIFPJZpNTZ4H-2ztkxbxgeM9KFuXe01Qdx9JYdQ2ufH45Xisdgx5ZgaYCDxbdgW3r0C2T-4NpaaRYMPF6_5Q54Mm_zsl521C177zoc6OdHjBf4zmFRkg4eiP9ReQcQbgtbD1EvVTRU88MqpikpBTtE4aasw/w592-h331/BayeuxTapestryScene25.jpg" width="592" /></a></div></span><span style="font-family: times; font-size: x-large;"> </span><span style="font-family: times; font-size: medium;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div>En la escena 25 encontramos al rey Eduardo el Confesor en su palacio, sentado en lo que parece ser un faldistorio. Los faldistorios eran sillas en forma de X, herederas de la silla <i>curul</i> romana. La utilizaban principalmente los reyes y el alto clero durante la época medieval. Fuente de la imagen: Wikipedia.<br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><span style="font-size: medium;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><span style="font-size: medium;"> </span><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Una de las escenas más fascinantes del tapiz es la de un banquete en el que encontramos todo tipo de manjares como asados, brochetas y pescado en una mesa de forma semicircular. En ella el obispo Odo bendice la mesa. Observamos que ya no comen tumbados, como en la Antigüedad, sino sentados: así es como habitualmente comían las mujeres, los niños y los pobres. Sin duda esta nueva forma de comer fue adoptada bajo la infuencia igualitaria del cristianismo.<br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Se suceden las escenas: de izquierda a derecha vemos como se cocinan los asados -aparece un cocinero barbudo- y cómo un sirviente llama con un cuerno a la mesa. Uno de los sirvientes parece ser un copero que va a servir el vino. Los sirvientes están preparando las viandas sobre una improvisada mesa hecha con escudos invertidos. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRKos5kJbj_XeO_h0EqHASU8ExDv1ZfrRfB5C4WPjAGU-uIN80zTtXblEJI9AiJoA_KOd6pE4wEv0vcnhtVOI5L7rD2WWwEC6rBKRgv5EMQBABTnAcpus8UraxmVGV7dswHvVoqsohD4kXcpy_nK6WF-05d31M1TfDOvomoMpYYabRqDzZsYfAnG5/s665/BayeuxTapestryScene42.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="665" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRKos5kJbj_XeO_h0EqHASU8ExDv1ZfrRfB5C4WPjAGU-uIN80zTtXblEJI9AiJoA_KOd6pE4wEv0vcnhtVOI5L7rD2WWwEC6rBKRgv5EMQBABTnAcpus8UraxmVGV7dswHvVoqsohD4kXcpy_nK6WF-05d31M1TfDOvomoMpYYabRqDzZsYfAnG5/w639-h340/BayeuxTapestryScene42.jpg" width="639" /></a></div><p><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span style="font-size: medium;">Escena 42: cocinando para el banquete.</span> Fuente de la imagen: Wikipedia </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1QWdSroNuF-0SnLxvLx2911PaTipHsi1JA78vj6Kwys1BHVHYENDPwgFM1rJDgcIl5bsp0GuJFrWJp5uHhO3IYYkfBp-r77wuv98FyY2Y5AOK10AxxV-JeXk5CVLB_I5MYlbPSDKq1VXJNuQyOQVBU7VYu6Lajc6W4KLyzEq8bMe-ZdtAmC_cMgr/s434/43.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="287" data-original-width="434" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1QWdSroNuF-0SnLxvLx2911PaTipHsi1JA78vj6Kwys1BHVHYENDPwgFM1rJDgcIl5bsp0GuJFrWJp5uHhO3IYYkfBp-r77wuv98FyY2Y5AOK10AxxV-JeXk5CVLB_I5MYlbPSDKq1VXJNuQyOQVBU7VYu6Lajc6W4KLyzEq8bMe-ZdtAmC_cMgr/w518-h343/43.jpg" width="518" /></a></div><p><span> </span><span style="font-size: medium;"><span> </span><span> </span><span> </span><span> </span>Escena 43: cocinando para el banquete.</span><span style="font-size: medium;"> Fuente de la imagen: Wikipedia </span></p><p> </p><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjruHy3gr9RDoeVrUR9qy-OvtnW4OLgnfpLDHVU3QObLkU9JbcDCDiNvyxSlksV2WwHYKpADMVpCRzKFpNoQT_Vw9Tr6bcViCmOVDOmr0LUE1p28AF7WE90VCdHjnuK3yLfGOKAVXt5rSFkLTnBaAXMWaSunrnxlsjl1jipjlk1S_edoAIr1BWBtUtL/s800/800px-Bayeux_Tapestry_scene43_banquet.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="800" height="447" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjruHy3gr9RDoeVrUR9qy-OvtnW4OLgnfpLDHVU3QObLkU9JbcDCDiNvyxSlksV2WwHYKpADMVpCRzKFpNoQT_Vw9Tr6bcViCmOVDOmr0LUE1p28AF7WE90VCdHjnuK3yLfGOKAVXt5rSFkLTnBaAXMWaSunrnxlsjl1jipjlk1S_edoAIr1BWBtUtL/w602-h447/800px-Bayeux_Tapestry_scene43_banquet.jpeg" width="602" /></a></div> </div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;">Escena 43: banquete presidido y bendecido por Odon. Fuente de la imagen: Wikipedia Commons.<br /></span><span style="font-family: times; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">El tapiz de Bayeux es una fuente documental de primer orden para conocer la construcción naval en la Edad Media: concretamente podemos apreciar la presencia de los célebres<span> barcos de origen vikingo llamados </span><i>drakkars.</i><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5W7WMXrFg-f1252sg6cBSq4gtHfHxCMdha5KdyTbJexxKxKkz0LWH7dT_2tN4RfKYoNUeQICfLpC2DC-pzwwcOZghoPaqjNX2xK3zmjdGpISzp9-dOndPvSgp4TDkQU96AqGb2shgEXNTr_xT2mqgpmP2b1cpENkgOksfQM9XcKMP_YP_CWH7voz/s909/Tapisserie_bato1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="909" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5W7WMXrFg-f1252sg6cBSq4gtHfHxCMdha5KdyTbJexxKxKkz0LWH7dT_2tN4RfKYoNUeQICfLpC2DC-pzwwcOZghoPaqjNX2xK3zmjdGpISzp9-dOndPvSgp4TDkQU96AqGb2shgEXNTr_xT2mqgpmP2b1cpENkgOksfQM9XcKMP_YP_CWH7voz/w547-h357/Tapisserie_bato1.jpg" width="547" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">Representación de un <i>drakkar </i>en el tapiz de Bayeux. Fuente de la imagen: Wikipedia</span></div><span style="font-size: x-large;"><br /><span style="font-family: arial;"></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><b>La indumentaria medieval en el tapiz de Bayeux</b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">El tapiz de Bayeux </span><span style="font-family: times;">refleja con bastante detalle la indumentaria del siglo XI, correspondiente estilísticamente a la Plena Edad Media, la época del románico. Esa uniformidad del románico por toda Europa se explica por el carácter internacional de ese estilo. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">En una sociedad tan jerarquizada como era la medieval en la cual están claramente diferenciados los distintos estamentos, la indumentaria era un signo de diferenciación social, económica y cultural. </span><span style="font-family: times;">La distinción social se mostraba a través de la ornamentación</span><span style="font-family: times;"> </span><span style="font-family: times;">-incluyendo las joyas-, el color y la riqueza del tejido.</span><span style="font-family: times;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">Incluso el propio <b>peinado</b> podía ser signo de diferenciación</span><span style="font-family: times;"> </span><span style="font-family: times;">identitaria, como podemos comprobar en este tapiz: </span><span style="font-family: times;">los normandos aparecen con pelo muy corto, rasurado el rostro y la nuca. Pueden presentar también grandes mostachos o bigotes. Los anglosajones, en cambio, llevan el pelo más largo, con rostros barbados o con bigote.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXaekPkYMcJTORpboR1pJxLccbHHv8GdCIrTharJYDzyUcg5oiGYkJp2bOo4lAcm0MfvxdDl_elbWbv7xCn3ZQfjg2WZ4WfGrRy9SetEfl0L9wJ0Kplp56QBPgsJf2P4pz_2yoqBh4mDfDSR68MW53qoWk8nC2qARw43zcFckb2SFndXwXZev2Zg8/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.16.01.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXaekPkYMcJTORpboR1pJxLccbHHv8GdCIrTharJYDzyUcg5oiGYkJp2bOo4lAcm0MfvxdDl_elbWbv7xCn3ZQfjg2WZ4WfGrRy9SetEfl0L9wJ0Kplp56QBPgsJf2P4pz_2yoqBh4mDfDSR68MW53qoWk8nC2qARw43zcFckb2SFndXwXZev2Zg8/w530-h303/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.16.01.png" width="530" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivYj2RN6qpYs5OcGszf5PkRpEk8DM0UG3cteYHmFAA1NiGzo6FKOGIVlkqYS_rMHhLEWOnnOiyro1_IpEkzbCnCt5L-6WfAaltvm9gUow6UWwwIG8FTuXxZFMhbq0CfNTwsd01EfKxmng9KB3_mXZ_9ar1CDTHJlvBe5Jb1BsFP67BZ_uutlp-E9lO/s796/Captura%20de%20pantalla%202022-09-06%20a%20las%2019.16.58.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="796" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivYj2RN6qpYs5OcGszf5PkRpEk8DM0UG3cteYHmFAA1NiGzo6FKOGIVlkqYS_rMHhLEWOnnOiyro1_IpEkzbCnCt5L-6WfAaltvm9gUow6UWwwIG8FTuXxZFMhbq0CfNTwsd01EfKxmng9KB3_mXZ_9ar1CDTHJlvBe5Jb1BsFP67BZ_uutlp-E9lO/w546-h264/Captura%20de%20pantalla%202022-09-06%20a%20las%2019.16.58.png" width="546" /></a></div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;">Eustache II de Boulogne, francés descendiente de Carlomagno y padre de Godofredo de Bouillon, lleva un estilizado bigote, de hecho le llamaban </span><span style="font-family: times;"><span style="font-family: times;">Eustache<i> aux Grenons</i>: "el de los largos bigotes". </span>Fue una figura clave de la conquista normanda de Inglaterra. Fuente de la imagen: Wikipedia.com</span></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G0vRHR4xh70eofFsvwwcaDn2PmrHf9-krmfS_QNXfHP1DfLjjXJ54c5N20Suj-lswgYKeYnP0IgJZt-q_zHXfJgGtMLTe1WWswzJ0YsKNNoYYxeeXi3WiwCRLUpBi8rKhsBiKVp4IBJ2ACfPIyEpNIMNo9v0XWq0uIqMij9OrkrPiPlvyxtQQJK6/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.45.47.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G0vRHR4xh70eofFsvwwcaDn2PmrHf9-krmfS_QNXfHP1DfLjjXJ54c5N20Suj-lswgYKeYnP0IgJZt-q_zHXfJgGtMLTe1WWswzJ0YsKNNoYYxeeXi3WiwCRLUpBi8rKhsBiKVp4IBJ2ACfPIyEpNIMNo9v0XWq0uIqMij9OrkrPiPlvyxtQQJK6/w540-h308/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.45.47.png" width="540" /></a></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><div class="separator" style="clear: both;"><span style="font-size: x-large;"><span><span style="font-family: times;"><span><span>Los clérigos eran identificables también por su corte de pelo, tanto si</span></span></span></span><span style="font-family: times;"> pertenecían al alto </span><span style="font-family: times;">como al bajo clero gracias a la <b>tonsura</b>.</span><span style="font-family: times;"> La tonsura surgió en la Edad Media: consistía en rapar parcialmente el cabello en forma de círculo en la parte superior o coronilla. </span></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iKOBxkGYgnBVS6yT81qRe8rpIAVojPmgKniJurI07g34HZWbsvJBeHmcp-8PKXvN_IcHoqdnBbUoHyaUe9poMSs3LiHxxvN30W7UhSMNXDHIg0824F0NO27zQ7IgdVONGeaiuTg64OuVoqR-H_1-8aqme5Gm5844Zz7CH6KdW2cS75DSeRItLn_0/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.59.27.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iKOBxkGYgnBVS6yT81qRe8rpIAVojPmgKniJurI07g34HZWbsvJBeHmcp-8PKXvN_IcHoqdnBbUoHyaUe9poMSs3LiHxxvN30W7UhSMNXDHIg0824F0NO27zQ7IgdVONGeaiuTg64OuVoqR-H_1-8aqme5Gm5844Zz7CH6KdW2cS75DSeRItLn_0/w533-h305/Captura%20de%20pantalla%202022-09-14%20a%20las%2010.59.27.png" width="533" /></a></div><br /></span></div><div class="separator" style="clear: both;"><span><span style="font-family: times; font-size: x-large;">Era un símbolo del clero religioso y de su renuncia al mundo. Así se distinguían de bárbaros y soldados. En ningún caso se afeitaban todo el cabello ya que eso sería una marca infamante como la de los esclavos en Roma como señaló San Jerónimo en su <i>Carta a Nepociano</i>.</span></span></div><div class="separator" style="clear: both; font-family: -webkit-standard;"><span style="font-size: x-large;"><span style="font-family: times;"><br /></span></span></div></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEsYOFUVAqTcwvL0NHLmGNOwMVaPZh9Xk1S9Ox1jXIxSmmsC8LnK_FXIJIaZUytADUYXZk2REKZ7Ooh2VZQ3azxHQr1GiuPD4HhQuo2QDAywMjv6U-JFfA1r_imYHSrihYhM1YOHp7u4qhgugdBEaZOEj3QDNZ77lqvki71-yTC-In8yYcO2C0xnX/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.03.18.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEsYOFUVAqTcwvL0NHLmGNOwMVaPZh9Xk1S9Ox1jXIxSmmsC8LnK_FXIJIaZUytADUYXZk2REKZ7Ooh2VZQ3azxHQr1GiuPD4HhQuo2QDAywMjv6U-JFfA1r_imYHSrihYhM1YOHp7u4qhgugdBEaZOEj3QDNZ77lqvki71-yTC-In8yYcO2C0xnX/w590-h337/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.03.18.png" width="590" /></a></div><span style="font-family: times; font-size: x-large;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><br /></span></div>En cuanto a la indumentaria que aparece en el tapiz de Bayeux, nos llama la atención el rico colorido de la misma (rojos, azules, amarillos, verdes) y la presencia abrumadora de equipamiento militar, dada la temática de la obra. Así encontramos cotas de malla, cascos, escudos, lanzas, flechas, hachas, jabalinas, espadas...</span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcXbQVoB8O6yt2A1oUKaGBtWhxDMhIDydFkt-MwT9wW5zvjD-tLBONcmWxCMGxuI6J8tDn9K2wrtB7S7Xht4AxDar4NyfEiqEWxAhxg2zZi3RLgzeFlebToTsHkIlFfvFim71d1Aq5gR8gSHtri7EQ7JXoujNQ1kM_Uql8LxKxCzFGeGvFZtqcUzli/s3264/foto.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="497" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcXbQVoB8O6yt2A1oUKaGBtWhxDMhIDydFkt-MwT9wW5zvjD-tLBONcmWxCMGxuI6J8tDn9K2wrtB7S7Xht4AxDar4NyfEiqEWxAhxg2zZi3RLgzeFlebToTsHkIlFfvFim71d1Aq5gR8gSHtri7EQ7JXoujNQ1kM_Uql8LxKxCzFGeGvFZtqcUzli/w373-h497/foto.jpeg" width="373" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: times; text-align: justify;">Reconstrucción de una figura de soldado normando en el Museo del Tapiz de Bayeux. </span>Lleva <i>casque à nasal</i>, <i> broigne</i> y escudo.</span></div><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">Los caballeros normandos que aparecen en el tapiz de Bayeux llevan </span><span><span style="font-family: times;">un <b><i>justaucorp</i> </b>llamado <i><b>broigne</b></i>:<i> e</i>s una tipología de cota </span><span style="font-family: times;">de malla ligera, compuesta por miles de anillas de hierro, que van cosidas a un indumento (tela o cuero) que les sirve
de soporte. Cubre el cuerpo hasta la altura de las rodillas. </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">En la cabeza llevan una capucha de malla y sobre ella un <b><i>casque à nasal</i></b>, es decir, un yelmo con protección para la nariz.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times; font-size: x-large;">El e</span><span style="font-family: times;"><span style="font-size: x-large;">scudo de madera, de forma almendrada, iba recubierto de cuero, con insignias heráldicas. </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpknh1qGOT_nZSMK7wc4105RpqDNDTZOK7Gl9wuCzbCeOgRHfS00TurKv13yiXPgZCmA-VAtUcR6EtRgvLAhQkLfZpAvPfThSZEYXaVMJ8DPzVjl0cEVJzNCAbjR4Julmf1S7q5jDRBKyX5HY8Z1-0Pi_AWg6VCRuUhtxD8Uh5Ip0krJj_7RjBDRSl/s871/BayeuxTapestryScene37.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="871" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpknh1qGOT_nZSMK7wc4105RpqDNDTZOK7Gl9wuCzbCeOgRHfS00TurKv13yiXPgZCmA-VAtUcR6EtRgvLAhQkLfZpAvPfThSZEYXaVMJ8DPzVjl0cEVJzNCAbjR4Julmf1S7q5jDRBKyX5HY8Z1-0Pi_AWg6VCRuUhtxD8Uh5Ip0krJj_7RjBDRSl/w647-h263/BayeuxTapestryScene37.jpg" width="647" /></a><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"> Escena 37: soldados embarcando <i>broignes </i>y distintos objetos para la guerra. </span><span style="font-family: times;">Fuente de la imagen: </span>https://blog.armae.com</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: -webkit-xxx-large;"> </span></div></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span><span><span style="font-family: times; font-size: x-large;">La
indumentaria básica masculina muestra claramente la herencia
grecorromana: consta de una <b>túnica </b>o saya holgada -la gonela- acinturada y con forma de T. Estas prendas estaban compuestas de rectángulos de tela cosidas de diferentes calidades y colores. No sobrepasaban las rodillas. Con frencuencia son de corte <i>evasé</i>.</span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span><span style="font-family: times; font-size: x-large;">Las más suntuosas podían ser de seda bordada en oro importada de Oriente. </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span><span style="font-family: times; font-size: x-large;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnx2_6Eifow5f4OS3872CepGfS-Y1x0VdSP-A3D5VauNsDyR-s7GQ9XBAOgQmcUCtrkaAoTv-AOB9q_6I_dyx7OEyx9iLBRcWpY73ybaljtKW1XKnRd-sA-XeIeiNXq2Tzpr2ZkHgBtoM2EYLkXvOqiAQgN_iemThubRUAUKgcPiAj8UJeZIhTX6wo/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.13.59.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnx2_6Eifow5f4OS3872CepGfS-Y1x0VdSP-A3D5VauNsDyR-s7GQ9XBAOgQmcUCtrkaAoTv-AOB9q_6I_dyx7OEyx9iLBRcWpY73ybaljtKW1XKnRd-sA-XeIeiNXq2Tzpr2ZkHgBtoM2EYLkXvOqiAQgN_iemThubRUAUKgcPiAj8UJeZIhTX6wo/w490-h280/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.13.59.png" width="490" /></a></div><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Algunos personajes llevan pantalones cortos o una especie de falda-pantalón de nomenclatura desconocida.</span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsY2EO_-87qTWvGxAv6UMHZsgXptd6_dygKQVR5aI51O85RRG-bhDxxOHE8P-1kOnYxVGxeNvKS35jd8OFLiWnQbVE5ieXp__P4NQAMeECgpQlhduI1nqPIGydhg0NEj2eRt-zk-J309m-960lIGdoyZq3k1mE1uDbeqHBCp5ZHHFtVe46hesvvR0t/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.17.14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsY2EO_-87qTWvGxAv6UMHZsgXptd6_dygKQVR5aI51O85RRG-bhDxxOHE8P-1kOnYxVGxeNvKS35jd8OFLiWnQbVE5ieXp__P4NQAMeECgpQlhduI1nqPIGydhg0NEj2eRt-zk-J309m-960lIGdoyZq3k1mE1uDbeqHBCp5ZHHFtVe46hesvvR0t/w395-h226/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.17.14.png" width="395" /></a></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span><span style="font-family: times;">El cuello de las túnicas que más predomina es el llamado </span></span><span><span style="font-family: times;"><span><span style="font-family: times;"><b><i>amigaut</i>:</b> es un cuello abierto </span></span></span></span><span><span style="font-family: times;"><span><span style="font-family: times;">con forma redondeada que marca una hendidura en el escote. Al parecer tiene origen oriental.</span></span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span><span><span style="font-family: times;"><span><span style="font-family: times;">En cuanto a los <b>sobretodos</b> <span>aparecen </span></span></span></span></span><span><span style="font-family: times;"><span><span style="font-family: times;"><span>mantos y capas. </span></span></span></span></span></span></span><span style="font-size: x-large;"><span style="font-family: times;">Las capas que encontramos en el tapiz de Bayeux </span><span style="font-family: times;">nos recuerdan a las </span><b style="font-family: times;">clámides</b><span style="font-family: times;">, y van sujetas con un broche o fíbula sobre un hombro. </span></span></div><span><span style="font-family: times; font-size: x-large;"><div class="separator" style="clear: both; text-align: justify;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBysP1H8Q2MYNBe_7QzkWKYl1oC7bL72dc8T8BVa1LIb2WTdyl8wx_rDKVJCNEa2eJBhJYKL1O77oCvJvq191QRJ6MsUe8ekuKcfYuG6LpWBwge5oNXFxTh53xzOg0oG_kZTQetv6Oe5tLdBqSWXLrHKRh_mbB33UfL-2fHpJuqWwiIlaN3br-Lq2x/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.21.52.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBysP1H8Q2MYNBe_7QzkWKYl1oC7bL72dc8T8BVa1LIb2WTdyl8wx_rDKVJCNEa2eJBhJYKL1O77oCvJvq191QRJ6MsUe8ekuKcfYuG6LpWBwge5oNXFxTh53xzOg0oG_kZTQetv6Oe5tLdBqSWXLrHKRh_mbB33UfL-2fHpJuqWwiIlaN3br-Lq2x/w583-h334/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.21.52.png" width="583" /></a></div><br /></span></div>Las mangas son largas y en general, ceñidas. Las piernas van cubiertas con bragas o calzas. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span><span><span style="font-family: times;">La indumentaria eclesiástica se fue paulatinamente diferenciando de las prendas laicas, pudiendo distinguirse como indumentos clave las <b>túnicas talares (tipo alba)</b>,<b> </b>las<b> dalmáticas </b>-de mangas cortas-, la <b>casulla </b>-capa sin mangas- y el <b>palio.</b> El palio se colocaba sobre</span></span></span><span style="font-family: times;"> los hombros y se extendía hasta el bajo de la túnica como vemos en la imagen de Stigand, el arzobispo de Canterbury.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKAovHiHslxCF8dAo5NUlT8kTWV--rE8XDccwPqFD9BOi5Wb96SfbtcLiZjuxKZNvYxH10Qao2YDOhzROqosVbB6cR2ZWMrbQdEKggpB20TumfdllVgrEKyaIMhcQCHYSYOgPVFu-T2aLyCjwE-gcQQgna6qpQEzrhiKjxOXhzZ736y_iv0PZBSKT/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.45.29.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKAovHiHslxCF8dAo5NUlT8kTWV--rE8XDccwPqFD9BOi5Wb96SfbtcLiZjuxKZNvYxH10Qao2YDOhzROqosVbB6cR2ZWMrbQdEKggpB20TumfdllVgrEKyaIMhcQCHYSYOgPVFu-T2aLyCjwE-gcQQgna6qpQEzrhiKjxOXhzZ736y_iv0PZBSKT/w568-h325/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.45.29.png" width="568" /></a></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;">Los reyes que aparecen en el tapiz (Eduardo el Confesor, Harold II) suelen son reconocibles por los símbolos alusivos a la monarquía: corona, el cetro, trono (generalmente un <b>faldistorio</b>) y en algún caso, el globo terráqueo. La indumentaria que llevan se caracteriza por una ornamentación más detallada -posiblemente con aplicaciones de orfebrería- como vemos ya desde la primera escena en el rey anglosajón Eduardo el Confesor.</span></div><p></p><p><br /></p><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiil9C0JRLwtdJaLorjqCogMkgqJ5p2KAf8jqnIA3lQDlOc7gGEvPbZ5nqvpSOy9AA-o8YcJ17n7KOkxrFNIUbFQYkeueu86zwVkgZc2BJZMC9OTU4pssUY9Ecs3fC9Rmu6XNVMmmFsX-tt8GrCLLjBnK9H0ZwZPe21MPceAfJ6XwdfU_b2ygZsiOJZ/s1024/01bayeux-1024x742.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="1024" height="413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiil9C0JRLwtdJaLorjqCogMkgqJ5p2KAf8jqnIA3lQDlOc7gGEvPbZ5nqvpSOy9AA-o8YcJ17n7KOkxrFNIUbFQYkeueu86zwVkgZc2BJZMC9OTU4pssUY9Ecs3fC9Rmu6XNVMmmFsX-tt8GrCLLjBnK9H0ZwZPe21MPceAfJ6XwdfU_b2ygZsiOJZ/w569-h413/01bayeux-1024x742.jpg" width="569" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">El rey Eduardo el Confesor en la primera escena del tapiz de Bayeux. Aparece sentado -símbolo de autoridad- sobre un trono faldistorio con cabezas y garras de león tallados. Fuente de la imagen: todayinbritishistory.com</span></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZF_I89neSYBBIJbXsyo4595JK0dtH-0TEHSTDSasMxLvO0cP3r30E8S7vPjVkLwocIZ6PYuaMN79fAkizl_wmGCr8sKEUHYqI8PCC0OuCPZXU7UQBu4wyOIRgCnXaqzs74wh26WGCz6PaMHWEzVMgFBuM0bZz_NtH6s-ORbcT68Xe1YpNLnU9fxn/s1200/harold2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZF_I89neSYBBIJbXsyo4595JK0dtH-0TEHSTDSasMxLvO0cP3r30E8S7vPjVkLwocIZ6PYuaMN79fAkizl_wmGCr8sKEUHYqI8PCC0OuCPZXU7UQBu4wyOIRgCnXaqzs74wh26WGCz6PaMHWEzVMgFBuM0bZz_NtH6s-ORbcT68Xe1YpNLnU9fxn/w633-h333/harold2.jpg" width="633" /></a></span></div></div><br /><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"></span></span></div><span style="font-family: times;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2wpR5AbYMoNapM6MWvrM1IasZgmJV5OZkKd_pNUckxr1bpe0ofYKN1xu2b4c0-hdoQRD86rT8gq8Blrziy5GPS-2ywYVb4G6uyn-rc98ngBpR023B_YFuW4bhR0Tvn5QYwpOHcWhAaVKctq7ser6zqwFXzBv-uwptmZA77L8knBxTqjZuIzA0YanW/s660/HAROLD.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="660" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2wpR5AbYMoNapM6MWvrM1IasZgmJV5OZkKd_pNUckxr1bpe0ofYKN1xu2b4c0-hdoQRD86rT8gq8Blrziy5GPS-2ywYVb4G6uyn-rc98ngBpR023B_YFuW4bhR0Tvn5QYwpOHcWhAaVKctq7ser6zqwFXzBv-uwptmZA77L8knBxTqjZuIzA0YanW/w504-h336/HAROLD.jpg" width="504" /></a></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span><span style="font-family: times;"><span style="font-size: medium;">Escena 29-30. Harold accede al trono entre el arzobispo de Canterbury, Stigand, nobles que le presentan una espada y el pueblo que lo aclama. Fuente de la imagen: Wikimedia Commons <br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: small;"><span style="font-family: times;"><span><br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: small;"><span style="font-family: times;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDk2yDtySPZwKpuo8uSjwOoIJkxl5XyUNskG83HbTTEdLxTGZXrB_ps6BNIyfEKrcd_gSKGqAFRVfVzIqvpAtjYDJCyoGcf6YT2EDHgtRPTCkHCKp3sYnK6uMPmiyeg1xwyVVL4Y2F0WnuAJwpr5BdUa3hZIBTMawF6KIVxCHBus0f8ff7YnBIYgyz/s3264/IMG-1903.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDk2yDtySPZwKpuo8uSjwOoIJkxl5XyUNskG83HbTTEdLxTGZXrB_ps6BNIyfEKrcd_gSKGqAFRVfVzIqvpAtjYDJCyoGcf6YT2EDHgtRPTCkHCKp3sYnK6uMPmiyeg1xwyVVL4Y2F0WnuAJwpr5BdUa3hZIBTMawF6KIVxCHBus0f8ff7YnBIYgyz/w445-h594/IMG-1903.jpg" width="445" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3-13kOkeIlQ0C89Jt09pfUhSOYITOO1e_S6OhLHXOaMFVKVI_0UEEXOIkS4y876bq5F_FlP4ISSriPd5KRo755yvF1PGZ1Ne5E5akKvqj88TysJmC5B9FlZVg1clQNthlegGWY763u1AssAE0ZLQv6X2vfGYJm2qPrSVXHi3G8q5ppMfB3HGdxss/s3264/IMG-1904.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="2448" height="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie3-13kOkeIlQ0C89Jt09pfUhSOYITOO1e_S6OhLHXOaMFVKVI_0UEEXOIkS4y876bq5F_FlP4ISSriPd5KRo755yvF1PGZ1Ne5E5akKvqj88TysJmC5B9FlZVg1clQNthlegGWY763u1AssAE0ZLQv6X2vfGYJm2qPrSVXHi3G8q5ppMfB3HGdxss/w375-h501/IMG-1904.jpg" width="375" /></a></div></span></span><span class="language es" title="español"><b> </b><div class="separator" style="clear: both; text-align: justify;"><span class="language es" title="español"><br /></span></div><span style="font-size: medium;"><span>Figura representando a Guillermo I de Inglaterra tras ser coronado rey de Inglaterra, en el Museo de Bayeux. Recordemos que en el tapiz no aparece este tema.</span><br /></span></span></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTtNVH6kmINouHOoeboIlTda55ltJPpC1yAmZmx6BnDD6O2Xxao8bRJn3utBnQ0rsQUbNw60wQSkcPr8yoi3jcIvWffXJVWf5BLGMX9oOvD-XYOFyf9J6bdYWXavhswGigGhs1Rh3peWNTpmDZ74V0oFn65zc_YyBq2NJDDFo9sOt7VGd-X1MmAlh/s741/BayeuxTapestryScene04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="741" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTtNVH6kmINouHOoeboIlTda55ltJPpC1yAmZmx6BnDD6O2Xxao8bRJn3utBnQ0rsQUbNw60wQSkcPr8yoi3jcIvWffXJVWf5BLGMX9oOvD-XYOFyf9J6bdYWXavhswGigGhs1Rh3peWNTpmDZ74V0oFn65zc_YyBq2NJDDFo9sOt7VGd-X1MmAlh/w656-h315/BayeuxTapestryScene04.jpg" width="656" /></a></div></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><br /><span style="font-size: medium;">Escena 4: se aprecia como dos sirvientes o soldados van arremangados para embarcar. Uno lleva un perro y otro un ave. Fuente de la imagen: Wikipedia.<br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhALBfD2rQrL8uHNqQsLCOBsMSNKCj8m2tk5ERunCN4m8bMly1u1iz2fCfC7xF8uPp58N2VaEoDJDmYaO4c3gel27ba7DV4c-FepshnRaGrMOgUhH5Xo6JLmbP9SoiUUkOYxUrjn-31tqz2gDaRjtk2VZM854jFzZ66Tt_9us9yYzJQFJNzEfbbEWh9/s775/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.26.02.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="775" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhALBfD2rQrL8uHNqQsLCOBsMSNKCj8m2tk5ERunCN4m8bMly1u1iz2fCfC7xF8uPp58N2VaEoDJDmYaO4c3gel27ba7DV4c-FepshnRaGrMOgUhH5Xo6JLmbP9SoiUUkOYxUrjn-31tqz2gDaRjtk2VZM854jFzZ66Tt_9us9yYzJQFJNzEfbbEWh9/w502-h288/Captura%20de%20pantalla%202022-09-14%20a%20las%2011.26.02.png" width="502" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span class="Med"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span style="font-size: large;"></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span><span style="font-size: large;"></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"><span>En el tapiz de Bayeux aparecen 626 personajes pero de ellos solo 6 son mujeres: tres figuran en el registro central y otras tres en las bandas de los bordes. </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">La primera que aparece es una misterosa mujer denominada Aelfgyva (escena 15). Parece estar recibiendo la absolución por parte de un hombre en el que se aprecia tonsura, por lo tanto es un sacerdote. Curiosamente en el borde inferior un hombre exhibe sus órganos genitales. Puede que exista algún tipo de relación entre la escena central y la figura masculina del borde inferior.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"><span>Aelfgyva lleva puesto una <b>túnica talar</b> y una <b>toca</b>.</span><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsle7vKfoQTkYbLJvbnKZYW0lkwkLlt3JiXNE53AOR8n9OXqKpU6_K3xxRWU1Qd3_mKvsAkihhTjmJNcSPJUai7OaQHVb0Qc73bLRtMluhoF9Z5cMwiqZ76mn9c0A9GiAw6RavahmJGUEEgFlWFFdngyggtPzK4o5QRUls8wwZMHUWyQvAJBGP6VqL/s521/440px-Aelfgyva.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="440" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsle7vKfoQTkYbLJvbnKZYW0lkwkLlt3JiXNE53AOR8n9OXqKpU6_K3xxRWU1Qd3_mKvsAkihhTjmJNcSPJUai7OaQHVb0Qc73bLRtMluhoF9Z5cMwiqZ76mn9c0A9GiAw6RavahmJGUEEgFlWFFdngyggtPzK4o5QRUls8wwZMHUWyQvAJBGP6VqL/w419-h496/440px-Aelfgyva.jpg" width="419" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;">Escena 15: Aelfgyva. Fuente de la imagen: Wikipedia.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-large;"><br /></span></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">Aunque el texto latino no nos da su nombre, la segunda mujer no puede ser otra que la reina Édith (escena 27). Aparece velada y compungida, sentada al pie de la cama de su marido, el rey Eduardo el Confesor que afronta sus últimos instantes de vida. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><br /><span style="font-size: large;"></span></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHVVT2cs1H55umQ3RWkVMNt4LPRWEESJHvOnOlK8ywlT-VJRFFUVr1krzJwjqQDlIHh5rnaewZk2fBCuLjku--K3bFrWV-s_ZBgOacaS32huZWoRCRSI8W6FZBK2l9VX199OnHHdd-0V_sG-rA7AyE8u8maxjZXX6Bi9ONawZTvs1uWZu3aywTCC3D/s363/edith.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="166" data-original-width="363" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHVVT2cs1H55umQ3RWkVMNt4LPRWEESJHvOnOlK8ywlT-VJRFFUVr1krzJwjqQDlIHh5rnaewZk2fBCuLjku--K3bFrWV-s_ZBgOacaS32huZWoRCRSI8W6FZBK2l9VX199OnHHdd-0V_sG-rA7AyE8u8maxjZXX6Bi9ONawZTvs1uWZu3aywTCC3D/w621-h283/edith.jpg" width="621" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="font-family: times;"><span> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: times;"><span style="font-family: times;"><span>Detalle de la escena 27-28 en la que se aprecia la cabeza velada de la reina Édith ante el rey Eduardo el Confesor muy enfermo.</span></span> Fuente de la imagen: alamy.com</span><span style="font-family: times;"></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><br /><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;"><span>La tercera es anónima y aparece en la escena 47: </span></span><span style="font-family: times;"><span>u<span style="font-family: times;">na mujer escapando con su hijo del incendio de una casa provocado por las tropas normandas. </span> Estos dos personajes simbolizan a la viuda y el huérfano. La mujer lleva un amplio traje talar con <b>amplias bocamangas</b>, posiblemente de las llamadas perdidas, que eran de origen bizantino y que en ocasiones se anudaban en los extremos para evitar pisarlas. La indumentaria que lleva es prácticamente idéntica a la de Aelfgyva. </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5B41vwfC8bLElcaDLCY1OsykUzjPu2Me9cXvK356Z5_wHCmLJyunexndpd-zte4rMmUiTlvHkpy1eWHYRBYq1jTQ6euu-Of1cmNrEpxor7rxlFXErQWgokTiRxxXY22VzKAC_UJbhh9bDHTZRW23DxaRJH1kj3XJJEsu_6CVn7Xl0RE1xrMe6pTl/s351/47.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="306" data-original-width="351" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5B41vwfC8bLElcaDLCY1OsykUzjPu2Me9cXvK356Z5_wHCmLJyunexndpd-zte4rMmUiTlvHkpy1eWHYRBYq1jTQ6euu-Of1cmNrEpxor7rxlFXErQWgokTiRxxXY22VzKAC_UJbhh9bDHTZRW23DxaRJH1kj3XJJEsu_6CVn7Xl0RE1xrMe6pTl/w435-h380/47.jpg" width="435" /> </a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;">Escena 47: u<span style="font-family: times;">na mujer que escapa con su hijo de un incendio provocado por las tropas del duque Guillermo para facilitar su avance.</span></span></div><br /><span style="font-family: times;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"></span></div><span style="font-family: times;"><span style="font-size: x-large;">El resto de mujeres que aparecen en el tapiz, en total tres, van desnudas y se encuentran en los bordes inferior (escena 13) y superior (escena 48 del tapiz).</span><br /></span></div><p><b><span style="font-family: times;"><span style="font-size: x-large;">Avatares históricos del tapiz de Bayeux<br /></span></span></b></p><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">El
tapiz de Bayeux </span><span style="font-family: times;"><span style="font-family: times;"><span>fue
declarada en 1840 monumento histórico gracias al escritor Prosper Merimée y
está inscrita en el registro de "Mémoire du Monde" de la Unesco desde
2007.</span></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: x-large;"><span style="font-family: times;"><span>H</span></span>a sufrido todo tipo de avatares que han
mermado su conservación como las manchas producidas por la cera de las velas de la catedral.
Corrió grave peligro durante la Revolución francesa y fue restaurada en el siglo XIX. Fue objeto de estudio por los nazis que quisieron incautarla y durante
la II Guerra Mundial fue trasladada en depósito al castillo de Sourches y después al Museo del Louvre
de París.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"> </span><br /><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9KxcgwkETujZEAmFBdVt476waKPlDmo-MXv6VD5ZKX37zfwMRhrKlBruVFvRx6QRD6nGKmvoCrNMU0qxk5SX839PvX5QVJNikEHnhNdr3TGsHlvmkFD1m8oecJUc4l4cR_Uh1-EvTGDlCVuluY_q-VgctYTMyFFF1jSQu-Vh4iLXRQj8ycG8Uw7jj/s960/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="960" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9KxcgwkETujZEAmFBdVt476waKPlDmo-MXv6VD5ZKX37zfwMRhrKlBruVFvRx6QRD6nGKmvoCrNMU0qxk5SX839PvX5QVJNikEHnhNdr3TGsHlvmkFD1m8oecJUc4l4cR_Uh1-EvTGDlCVuluY_q-VgctYTMyFFF1jSQu-Vh4iLXRQj8ycG8Uw7jj/w605-h358/1.jpg" width="605" /></a></div></span><span style="font-size: medium;"><span style="font-family: times;"><span><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: medium;"><span style="font-family: times;"><span><br /></span></span></span></div>Imagen de un documental franco-alemán "El tapiz de Bayeux: un mito bordado" (dirigido por </span></span><span style="font-family: times;"><span>Wilfried Hauke, 2022)<span class="copyright"> </span>Fuente de la imagen: https://actu.fr/normandie/bayeux_14047/bayeux-quand-la-tapisserie-se-retrouve-entre-les-mains-des-nazis_45177212.html</span><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-large;"><span style="font-family: times;">En el memorial en homenaje a los soldados de la Commonwealth caídos en la Batalla de Normandía (1944), en el cementerio militar británico de Bayeux están inscritas estas palabras en latín: </span><span style="font-family: times;"><span>"Nos a
Gulielmo victi victoris patriam liberavimus" (Nosotros, vencidos por Guillermo, hemos liberado a la patria de nuestro vencedor). </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: large;"> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlO4-XqZQB4AGANR_c8rbnkOgDXgo7ddMyz2TbSCUBCWFzZ7TARvzSlJJJN0bcqWWva0cBKExBqqBczL8cuQidErlCAyc5mMhV9Ke-evU4_sFW9lIhxHTDfqF2a0zx3-NJDkRPaT1_c1W0UDd_dmHq-iowbYJn0ZtZXYyla7EYTbNZxNdNsb5RbIU1/s800/cementerio-britanico-bayeux-7136_w800.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlO4-XqZQB4AGANR_c8rbnkOgDXgo7ddMyz2TbSCUBCWFzZ7TARvzSlJJJN0bcqWWva0cBKExBqqBczL8cuQidErlCAyc5mMhV9Ke-evU4_sFW9lIhxHTDfqF2a0zx3-NJDkRPaT1_c1W0UDd_dmHq-iowbYJn0ZtZXYyla7EYTbNZxNdNsb5RbIU1/w526-h395/cementerio-britanico-bayeux-7136_w800.webp" width="526" /></a></span></span></div><p></p><span><span style="font-family: times;"><span style="font-size: medium;">Memorial del cementerio militar británico de Bayeux. Fuente de la imagen: https://www.france-voyage.com/francia-fotos/cementerio-britanico-bayeux-830.htm</span></span><br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: medium;"></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b style="text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">PARA SABER MÁS</span></span></b></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"> <br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">*Las imágenes del tapiz de Bayeux en detalle en este <a href="https://upload.wikimedia.org/wikipedia/commons/1/10/Teppich_von_Bayeux.jpg">enlace. </a></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">*Las referencia visuales del tapiz de Bayeux en la <a href="https://dejavu.hypotheses.org/1068">cultura popular</a>.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">*En el <a href="https://www.readingmuseum.org.uk/blog/five-things-you-probably-didn%E2%80%99t-know-about-reading%E2%80%99s-bayeux-tapestry">Museo de Reading</a> (Inglaterra) hay una réplica del tapiz de Bayeux realizada en el siglo XIX.<br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: x-large;">*Video animado sobre el tapiz de Bayeux.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/LtGoBZ4D4_E" width="320" youtube-src-id="LtGoBZ4D4_E"></iframe></div><br /></span></div><span style="font-family: arial; font-size: x-large;"></span><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><span style="font-family: times;"><span><span style="font-size: x-large;"><b>FUENTES DE DOCUMENTACIÓN</b></span></span></span><div><span style="font-family: times;"><span><span style="font-size: x-large;"><br /></span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: x-large;">*El Museo de Bayeux.</span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: x-large;"> </span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: x-large;">*El sitio web del <a href="https://www.bayeuxmuseum.com/la-tapisserie-de-bayeux/decouvrir-la-tapisserie-de-bayeux/les-personnages-de-la-tapisserie/ ">Museo de Bayeux</a>.</span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: x-large;"></span></span></span></div><div><span style="font-family: times;"><span><span style="font-size: x-large;"><br /></span></span></span></div><div><span style="font-family: times;"><span style="font-size: x-large;"><span>*LEMAGNEN, S. (2019): <i>La Tapisserie de Bayeux</i>, Orep Editions, Bayeux.</span><br /></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="font-size: x-large;"><br /></span></span></div><span style="font-family: times;"><span style="font-size: x-large;">*VIGARELLO, G., (2017): <i>La robe. Un histoire culturelle. Du Moyen Age à aujourd´hui. </i>Editions du Seuil.</span></span></div><div><span style="font-size: x-large;"><span style="font-family: times;"><span><br /></span></span><span style="font-family: arial;"><span style="font-family: times;"><span>*VVAA, (2015): <i>Le costume française</i>, Flammarion, Paris.</span></span><br /></span></span><p></p></div><div><span style="font-family: arial;"><span style="font-family: times;"><span style="font-size: x-large;"><br /></span></span></span></div><div><span style="font-size: x-large;"><span style="font-family: times;">* VVAA, (2015): <i>À table au Moyen Age</i></span><span style="font-family: times;"><i>, </i>Association des Amis Tour Jean sans Peur, Paris.</span></span></div>Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-30988208158117931012023-12-27T08:13:00.000+01:002023-12-27T08:13:53.873+01:000.5. LA INDUMENTARIA EN LA ANTIGÜEDAD: ROMA<div class="separator" style="clear: both; text-align: center;">
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<span face=""arial" , "helvetica" , sans-serif">La indumentaria romana aparece reproducida en numerosos cuadros del siglo XIX</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">1. Introducción</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">1.1. Marco cronológico y geográfico</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Entre la fecha mítica de la fundación de Roma (753 a de C) y la de su caída (476 d. C.: invasiones bárbaras) se desarrolla una de las civilizaciones más brillantes de toda la historia de la humanidad. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Roma, en un principio sólo una ciudad, se convirtió en la capital de un inmenso imperioque abarcó gran parte del mediterráneo (el <i>Mare Nostrum</i>): Italia, Grecia, Hispania, norte de África, Asia Menor, etc.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">1.2. El Contexto. Sociedad, Arte y Cultura</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Es difícil entender Roma sin la influencia de Grecia, conformando ambas dos piezas de una misma unidad, el mundo clásico. </span></div><div class="separator" style="clear: both; text-align: justify;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Recordemos que Grecia fue definitivamente incorporada al imperio romano en el año 145 a.C. La civilización griega trasmitió a Roma el ideal de belleza clásica. Pero es esencial también las aportaciones de los etruscos, base esencial de la cultura romana.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Como ocurría con Grecia, Roma será otro de los pilares de la futura cultura occidental. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Su religión se asemeja mucho a la griega, ya que de ella toma sus dioses, aunque cambiándoles el nombre, a los que añadirá además dioses locales y otros heredados de los etruscos, sus emperadores divinizados… Recordemos que el cristianismo surgió en plena época del Imperio romano en una zona romanizada, Palestina. Pero pronto los cristianos empezarían a ser perseguidos por los propios romanos hasta que en el siglo IV d. C. pasó a ser la religión oficial del Imperio. El último siglo del imperio romano es cristiano.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Tres formas de gobierno se desarrollaron sucesivamente en la civilización de la antigua Roma: monarquía –etrusca-, república e imperio. Era una sociedad esclavista que distinguía entre ciudadanos y no ciudadanos. Los esclavos que conseguían la libertad eran llamados libertos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El arte romano va estrechamente ligado al poder político: presenta un fuerte carácter propagandístico a mayor gloria de Roma –<i>Caput Mundi</i>- y de su imperio. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los romanos nos dejaron como legado cultural: el derecho romano –base de nuestra legislación-, el idioma (el latín), el arte (desarrollaron todas las artes tanto las bellas artes como las artes decorativas) y las obras de ingeniería como calzadas, puentes y acueductos. Del latín derivan las lenguas romances o románicas: español, francés, italiano, portugués, rumano… </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El latín fue uno de los factores que propició la cohesión, la unión del imperio. Será el vehículo de comunicación y expresión por todo el <i>Mare Nostrum</i> y su presencia era cotidiana ya que aparecía en los manuscritos, monedas, inscripciones, relieves, pinturas, etc. Durante siglos será la lengua que se hablará en Europa hasta que surjan los diversos idiomas de nuestro continente en la Edad Media.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La Iglesia católica lo considerará su idioma por antonomasia. Los romanos tenían una máxima: “la palabra escrita perdura”, daban por lo tanto, mucha importancia a la escritura.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif">Entre las obras maestras del arte romano se incluyen templos (<i>Maison Carré </i>de Nimes; el <i>Panteón </i>de Roma), anfiteatros (<i>Coliseo </i>romano), pinturas, mosaicos, retratos, y todas las artes decorativas</span><span face=""arial" , "helvetica" , sans-serif"><o:p></o:p></span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En el mundo romano, a pesar de su magnitud, no hubo formas de arte locales, sino que en todas las provincias se trató de realizar el modelo de la capital. </span></div>
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<span face=""arial" , "helvetica" , sans-serif">Ejemplo de inscripción latina; el origen del grafiti se encuentra en muchos edificios de Pompeya y Herculano; dos ejemplos pictóricas que muestran las tablillas de cera sobre las que se escribía en época romana</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Hispania, producto de Roma <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los romanos tardaron dos siglos en conquistar España –con tremendas luchas- desde el siglo III antes de Cristo hasta el año 19 antes de Cristo (siglo I a. C.). Cuando España fue romanizada, Hispania, fue una de las provincias más importantes del Imperio, siendo cuna de emperadores (Trajano, Adriano..), escritores (Marcial) y filósofos (Séneca). Entre los principales monumentos de arte romano en España destacan el acueducto de Segovia y el teatro de Mérida.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2. La Indumentaria en la Antigua Roma</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2.1. Fuentes para su Estudio</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El estudio de la indumentaria de la Antigüedad es un instrumento vital para conocer el estilo de vida de nuestros antepasados. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los vestigios materiales de indumentos romanos que nos han llegado son escasos. Nos proporcionan una información valiosísima sobre los tejidos utilizados, los tintes, etc. Se conservan en museos arqueológicos y de artes textiles.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Las fuentes iconográficas sobre la indumentaria de la antigua Roma son numerosas: esculturas (como la de Augusto Prima Porta), pinturas (como ésta encontrada en la Domus Áurea de Nerón en Roma), mosaicos, orfebrería (pátera de oro de Rennes, c. 210)</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En cuanto a las fuentes iconográficas proceden de esculturas –tanto relieves como figuras exentas-, pintura, mosaicos e incluso artes decorativas (representaciones figurativas en artes del metal, joyería, orfebrería, etc.)</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Asimismo hay que tener en cuenta las referencias a la indumentaria que aparecen en las fuentes documentales (Plinio el Viejo, Tácito) y literarias (Cicerón, Quintiliano, Catón, Juvenal, Marcial, etc.)</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2.2. Claves de la Indumentaria de la Antigua Roma</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La indumentaria de la Antigua Roma es una de las mejor conocidas de la Antigüedad, y ha sido reproducida en pinturas y esculturas de distintas épocas hasta la saciedad –particularmente en el siglo XIX-. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En los siglos XX y XXI es el cine “péplum” el que ha popularizado esta civilización.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Se basa en la indumentaria griega y etrusca, con aportaciones orientales.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Vestirse en Roma no era un mero acto de cubrirse y embellecerse. En efecto, la indumentaria romana a través de las tipologías de indumentos, los tejidos o el color se configuraba como un símbolo identitario del estatus social, económico e incluso político de los habitantes de su imperio, distinguiendo claramente entre ciudadanos y no ciudadanos. Era un espejo de su sociedad.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Roma, <i>Caput Mundi,</i> mucho más que la civilización griega, buscará crear vestimentas de opulencia y lujo acorde con sus estamentos rectores de la sociedad. Roma superó a Grecia en suntuosidad y magnificencia en el vestir.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La pasión por el lujo –concepto de origen oriental- fue acorde con los gustos refinados de las élites imperiales, amantes del arte y del hedonismo. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Conviene recordar que los romanos expoliaron incalculables tesoros que comenzaron a engrosar las arcas estatales y privadas en las que figuraban cantidades enormes de monedas de oro y plata, coronas, vajillas, joyas o piedras preciosas que suministraron ciudades como Siracusa, Corinto, Atenas o Delfos, así como localidades de Macedonia o Asia Menor. Lo ya iniciado en la última época republicana, se afianza en el siglo I de nuestra era, a lo largo de la dinastía Julio-Claudia, que vuelve a despojar a las sufridas ciudades griegas de sus últimos restos de riqueza y aún más cuando las ampliaciones de las conquistas imperiales en el Oriente ponen a estos romanos en contacto con un lujo extremo y una opulencia que supera los sueños occidentales. </span></div>
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<span face=""arial" , "helvetica" , sans-serif"> Catón el Viejo y Cicerón, dos azotes contra el lujo y la corrupción de las tradiciones romana</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Nada sirvieron contra esta insaciable carrera los escritos o discursos de quienes como Tito Livio, Catón, Cicerón y muchos historiadores, literatos o filósofos, pretendían conservar intacta la tradicional sobriedad de costumbres, sinónimo de virtud para ellos, que, a salvo durante algunos siglos, fue uno de los valores morales de Roma llamado a desaparecer en primer lugar.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En este sentido, hay que señalar que hubo leyes y regulaciones que censuraban el lujo extremo por lo que se refiere a la utilización de suntuosos vestidos y joyas, especialmente si eran llevadas por mujeres. Un político, escritor y militar romano llamado Marcus Porcius Cato, conocido como Catón el Viejo (234-149 a de C) y apodado el Censor –Censorius- fue el impulsor de estas normas restrictivas. Y es que en su trabajo como censor, fue un acérrimo defensor de las tradiciones romanas en contraposición al lujo de la corriente helenística procedente de Oriente. Tan estricto fue y tanto predicamento tuvo, que incluso en Roma, no estaba bien visto que los senadores llevaran joyas de oro, ni siquiera en privado.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La indumentaria romana perduró durante siglos influyendo en la vestimenta bizantina y la medieval. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los niños llevaban versiones en pequeño de la ropa de los adultos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Como sabemos la mayor parte de la indumentaria romana se basa en la griega, especialmente la toga que corresponde al himation griego y a la <i>tebenna</i> etrusca. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los materiales utilizados eran muy similares a los de los antiguos griegos pero el proceso de fabricación había mejorado siendo los tejidos de mucha mejor calidad.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Empleaban lana, seda y algodón así como lino, pieles (cuero, etc.)</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La lana era la fibra más utilizada, y eran muy cotizadas las prendas de lana de Tarento. Continuaban innovaban buscando mejorar la calidad de los tejidos que producían y consumían. La seda, como era habitual en otras culturas, era muy costosa, al alcance de muy pocos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El cuero y la piel –de oveja o cerdo- en general, fueron utilizados para protegerse del frío pero sobre todo para el calzado y los cinturones. Llevar pieles de animales era muy popular entre las legiones romanas. La cabeza del animal la portaban sobre los cascos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En la fabricación de los tejidos utilizaban herramientas similares a las que fueron usados en la Edad Media.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Utilizaban tintes procedentes sobre todo de Tiro, en el Líbano (antigua Fenicia). Era muy codiciado el colorante púrpura o violeta que procedía de un molusco marino– el Murex -. El color rojo-púrpura era el color de los emperadores y el que llevaban en sus estolas las mujeres más adineradas.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Entre los tintes vegetales el más habitual era el índigo que propiciaba sombras azules y amarillas. Según Plinio el Viejo, el color negro era más preferido que el rojo. El amarillo lo obtenían del azafrán, era muy caro y reservado para las mujeres casadas o las Vírgenes Vestales. Había muchos menos colores que en nuestra época actual.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Fresco romano de una </span><i style="font-family: Arial, Helvetica, sans-serif;">fullonica </i><span face=""arial" , "helvetica" , sans-serif">–tienda de tintoreros- de Veranius Hypsaeus en Pompeya, Museo Arqueológico Nacional, Nápoles; f<i>ullonica</i> de Ostia Antica, el puerto de Roma, a dos pasos del actual aeropuerto de Fiumicino (Roma)</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las <i>fullonicas </i>eran las lavanderías-tintorerías de la época. En ellas se utilizaba orín humano para blanquear la ropa y fijar los colores de los tintes. Ej.: la <i>fullonica</i> del puerto de Roma (Ostia Antica).</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2.3. Tipologías de Indumentaria Romana Masculina y Femenina</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las túnicas son el indumento por antonomasia de la vestimenta romana. Eran muy diversas, siempre más cortas para el hombre que para la mujer (largo talar). </span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Podemos distinguir entre:</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Indumentos para mujeres: Estolas y <i>Palla</i> o <i>Palio</i></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Indumentos para hombres: Túnica y Toga</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Las túnicas específicas para las mujeres se denominaban ESTOLAS – <i>stola</i> en latín -. Son el equivalente en Roma del <i>chiton </i>griego. Y el chal o manto que llevaban por encima era la <i>PALLA</i> O <i>PALIO</i> (la <i>himation </i>griega). </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las novias cristianas vestían de blanco, con velo. El color blanco, hoy como ayer, era símbolo de pureza y castidad. </span><br />
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<span face=""arial" , "helvetica" , sans-serif"> Pintura romana que se conserva en los Museos Vaticanos. Muestra una joven con traje de novia blanco, propia de las cristianas</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las paganas llevan también velo pero de color amarillo anaranjado. Las novias solían llevar un cinturón de nudo de Hércules, como en Grecia (Heracles), de carácter apotropaico para promover la fertilidad, ya que ese héroe tuvo setenta hijos. La costumbre de los anillos en las bodas procede de Roma. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El indumento más habitual entre los hombres romanos eran las TÚNICAS de manga corta, atadas a la cintura con cinturón. Se llevaba habitualmente en los interiores de los edificios y era la prenda habitual de niños y esclavos. Las túnicas que llevaban los corredores de cuadrigas estaban teñidas según el color de su facción con la que competían.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"> Túnica dalmática</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La TÚNICA DALMÁTICA procede de Dalmacia (actual Croacia) y surgió en esa zona cuando estaba bajo el poder del Imperio romano. Esa túnica influirá en la vestimenta eclesiástica (sacerdotes) perviviendo hasta la actualidad.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Tenía manga corta o sin mangas, pero en la época imperial presentaba mangas. Estaba hecha de lana, lino o seda, y habitualmente la portaban los más pudientes y más tarde pasó a ser un indumento esencialmente eclesiástico –el origen del que llevan hoy los diáconos en las celebraciones litúrgicas-. Se usaron en todo el imperio romano desde el siglo II.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Con todo, el manto más famoso de los romanos era la TOGA, símbolo de la ciudadanía masculina.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: medium;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"> </span><span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"> </span><span face=""arial" , "helvetica" , sans-serif">La toga romana, el indumento más representativo de la antigua Roma En la imagen: <i>t</i></span></span></span><span face=""arial" , "helvetica" , sans-serif"><i>oga candida, toga praetexta, toga pulla y toga picta</i></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Eran indumentos realizados en lana, pesados y de gran tamaño, pudiendo llegar a medir seis metros de largo por dos de ancho. Se llevaba enrollada alrededor del cuerpo. Era de corte elíptico, cerrada por abajo y abierta por arriba hasta la cintura. Se blanqueaban con orines y otros productos en las <i>fullonicas.</i> Eran prendas caras, exclusivas de ciudadanos romanos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La incomodidad de llevar puesta semejante prenda la hacía impracticable para cualquier trabajo físico. Era imposible que uno mismo se pudiera poner esta túnica, era necesaria la ayuda de otra persona –habitualmente un esclavo- para colocarla correctamente.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las estatuas de los emperadores servían de modelo para ajustarla con propiedad. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Existía una gran variedad de tipologías de togas, en función de la finalidad, incluso de la edad: toga <i>virilis</i> –la habitual en los ciudadanos a partir de los 15-16 años; toga <i>picta</i> –con bordes dorados y distintos ornamentos-, la llevaban los generales victoriosos; toga <i>praetexta</i> (la llevaban los magistrados y los niños); toga <i>candida</i> (blanca, para candidatos políticos); toga <i>pulla</i> –negra, para funerales-; togas senatoriales (con ribetes púrpuras) etc.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2.4. Trascendencia de la Indumentaria Romana</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La moda romana influirá en la del movimiento cultural llamado Neoclasicismo, durante los siglos XVIII y XIX pero sus efectos perduran hasta nuestros días.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Ejemplos pictóricos neoclásicos (siglos XVIII-XIX) que muestran la moda de la época bajo la influencia de la indumentaria grecorromana</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">2.5. La Ropa Interior en la Antigua Roma</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La ropa interior era muy simple, ya que eran sencillas fajas de tejido que sujetaban el pecho o protegían los órganos sexuales. Los hombres llevaban calzoncillos de cuero o lino.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Ropa interior masculina; mujeres practicando deporte, Mosaico de la villa romana de Casale en Piazza Armerina, Sicilia</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Era la única prenda usada por esclavos y gladiadores, aunque los gladiadores portaban muy variados indumentos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La túnica, que era la prenda básica para todo, también se usaba para dormir.</span></div>
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<span style="line-height: 15.3333px;"><span face=""arial" , "helvetica" , sans-serif"> Ejemplos de </span><i><span face=""arial" , "helvetica" , sans-serif">fascia pectorali</span><span style="font-family: "candara"; font-size: x-small;"><o:p></o:p></span></i></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las mujeres a veces usaban una especie de sujetador llamado <i>fascia pectoralis</i> que literalmente quiere decir faja de pecho. También era denominada <i>strophium</i> o <i>mamillare</i>. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">3. Accesorios. Calzado. Adornos y Joyas</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">3.1. El Calzado Romano</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El calzado romano se base en el griego. Se fabricaba en cuero. La mujer solía usar sandalias. El hombre utilizaba calceus, una especie de zapato cerrado, y la caliga, calzado militar, una botita. El nombre del emperador Calígula deriva de ahí, era el “botitas”. </span></div>
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<span face=""arial" , "helvetica" , sans-serif">Medias de lana, zapatos de piel y un trozo de una manga procedentes de una tumba romana del siglo II (Martres de Veyre), Museo Textil de Clermont Ferrand, Francia.<o:p></o:p></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los actores llevaban zapatos de corcho con altas plataformas derivados de los coturnos griegos. Había zapatos realizados en madera.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los romanos cuidaban mucho su aspecto externo. Los peinados los solían realizar los esclavos en las casas.</span></div>
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<span face=""arial" , "helvetica" , sans-serif"> Los peinados romanos podían llegar a ser verdaderas obras de arte</span><br />
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<span face=""arial" , "helvetica" , sans-serif">Busto del emperador Julio César, con el característico peinado hacia adelante para disimular su más que incipiente calvicie, Museo Arqueológico de Nápoles; busto del emperador de origen español Adriano, con bigote y cuidada barba, Palacio de los Conservadores, Roma</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Durante la República las mujeres romanas se peinaban de forma sencilla con un moño. En la época imperial, sin embargo, los peinados alcanzaron una gran complejidad. Se convirtieron en un elemento esencial de la apariencia.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las modas en los peinados se transmitían a través de las monedas, por eso llegaban a todo el imperio.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En los retratos femeninos escultóricos se otorgaba una gran importancia los peinados y tocados. Gracias a ellos, podemos fechar o datar cuando fueron realizados. Espectaculares son los peinados femeninos llamados “nidos de avispa” realizados con el instrumento llamado trépano –con el que se realizan pequeños agujeritos en la escultura-. </span></div>
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<span face=""arial" , "helvetica" , sans-serif">Peinados “nido de avispa” realizados con trépano</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Eran habituales los tintes, no tanto para disimular las canas como para cambiar de aspecto y seguir la moda. La elección del tinte no era baladí: indicaba toda una declaración de intenciones: el pelirrojo y el azul eran indicados sólo para las cortesanas y era sinónimo de mujeres “poco serias”.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Les gustaba mucho teñirse de rubias, y de negro “ébano”. Los hombres también se teñían el pelo.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Importaban, además, pelucas de pelo negro de la India y rubias de Alemania y eran frecuentes los postizos.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Retratos de El Fayum (siglos I-IV d C): obsérvese el gusto por las cejas muy pobladas y negras que maquillaban con diversos pigmentos</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En cuando al maquillaje, se pintaban las mejillas y los labios de rojo, con sedimentos de vino tinto. Se pintaban los ojos con cenizas y polvos de antimonio, incluso con hormigas machacadas y con la tinta negra de sepia. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">A los antiguos romanos les gustaba adornarse con joyas de influencia etrusca y griega: diademas para el pelo, pendientes, collares, anillos, brazaletes, fíbulas, camafeos , etc. Eran joyas suntuosas, de rica policromía, realizadas en oro, plata, vidrio, perlas y gemas de colores como esmeraldas, amatistas, ónix, granate…ya que les gusta mucho la policromía que se obtiene al engarzar las piedras preciosas con metales nobles. </span></div>
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<span style="font-family: "candara";">Joyas romanas de oro y granate; anillo con retrato; anillo con moneda que representa al emperador de origen español Marco Aurelio, siglo II, Museo Británico<span style="font-size: x-small;"><o:p></o:p></span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La variedad de materiales utilizados en sus joyas es debido a las posibilidades que el Imperio les propiciaba en obtener tan preciadas gemas a través de toda la zona mediterránea. Además tenían una extensa red de comercio –favorecido por sus vías o calzadas- que les permitía acceder a exóticos materiales y piedras preciosas gracias a la Ruta de la Seda que unía Oriente con Occidente. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Una de las piedras favoritas de los romanos, fue el ámbar. De hecho, establecieron la “ruta del ámbar” para transportar tan preciada gema desde Gdansk (actual Polonia), que era el centro de producción de esta piedra más importante, a todo el Imperio. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">A finales de esta civilización, las gemas más exóticas procedentes de la India o Sri Lanka como los zafiros y topacios, fueron muy apreciadas.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Al parecer, la costumbre de la sortija de compromiso surgió en la antigua Roma. En un principio era un simple aro de hierro –siglo I- y a partir del II d. C. se realizaba en oro. El anillo era un símbolo de promesa de amor eterno…</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los cristianos adoptaron la costumbre romana, convirtiendo al anillo en una parte de la ceremonia matrimonial. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En general, los anillos romanos solían estar realizados en oro o electrón –palabra procedente del latín electrum- que era una aleación de oro y plata. Con frecuencia llevaban una piedra semipreciosa que podía ser usada con cera caliente para sellar documentos. </span><br />
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<span face=""arial" , "helvetica" , sans-serif"> Estatua de un niño romano. Lleva puesto la bulla. Ejemplo de bulla</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">De carácter apotropaico eran las <i>Bulla,</i> que llevaban los niños desde que eran bebes. Consistía en una cadena con un estuchito con un amuleto, con frecuencia símbolos fálicos para potenciar su masculinidad. Estas piezas podían estar realizadas en diferentes metales, la más popular era el oro. También había anillos de oro con motivos fálicos para propiciar la buena suerte. Las niñas también llevaban bulla con amuletos en una cadena o cuerda hasta el día de su boda.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">FUENTES DE DOCUMENTACIÓN</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">Bibliografía</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Cosgrave, B., <i>Historia de la moda. Desde Egipto hasta nuestros días</i>, Gustavo Gili, Barcelona, 2005.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Fernández-Villamil, C., <i>Las artes aplicadas,</i> Tomo 1, Madrid, 1975.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Figueras, J., <i>Historia de la Moda. Pasado, presente y futuro, </i>Eiunsa, Madrid, 2012.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Galeano Pérez, A., <i>Atlas ilustrado. El peinado, historia y presente</i>, Madrid, Ed. Susaeta,</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Laver, J., <i>Breve historia del traje y la moda, </i>Madrid, Cátedra, 1988.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">*Rieff Anawalt, P, <i>Historia del vestido,</i> Blume, Barcelona, 2008</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;">Recursos en Red</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="http://algargosarte.blogspot.com/">ALGARGOS. BLOG DE ARTE DEL PROFESOR ALFREDO GARCÍA </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="http://historiadeltraje.blogspot.com/">HISTORIA DEL TRAJE. BLOG DEL PROFESOR PABLO PENA </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://historiadeltraje.com/tag/peplo/">HISTORIA DEL TRAJE </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://romanroadsmedia.com/2014/10/romanfashion/">FASHION IN ANCIENT ROME </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://www.romae-vitam.com/vetements-sous-la-rome-antique.html">LES VÊTEMENTS SOUS LA ROME ANTIQUE </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://www.bigodino.it/blog/moda/la-moda-nellantica-roma.html">LA MODA NELLA ANTICA ROMA </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://www.bigodino.it/blog/moda/la-moda-nellantica-roma.html">ROMAN LIFE IN ANCIENT ROME </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://www.ancient.eu/article/1018/etruscan-clothing/">ETRUSCAN CLOTHING</a> </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="https://alishapuri.wordpress.com/2014/12/18/35/">HISTORY OF CLOTHING –ROMAN- </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="http://www.bloganavazquez.com/2011/06/17/el-vestido-romano/">EL VESTIDO ROMANO </a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="http://artehistoriaestudios.blogspot.com/2011/06/vestimenta-romana.html"><br /></a></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="color: blue; font-size: x-large;"><a href="http://artehistoriaestudios.blogspot.com/2011/06/vestimenta-romana.html">VESTIMENTA ROMANA</a></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com2tag:blogger.com,1999:blog-8265587279902146571.post-87084391231885108302023-12-05T11:52:00.000+01:002023-12-05T11:52:00.538+01:000.5. LA INDUMENTARIA EN LA ANTIGÜEDAD: ETRURIA<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAwcpPWjtM1Yn2b9vo02MD7636NFzkG1x5FLTw6Zicrb5YOtjj5MMj3ZduSolkUa9RtF9mp4pHcOWMV1TE93c_bgujBldrzCxz0PPmfUXmip0JieP9wXQ4bapQ-KUqkLrqdv-smW2v4PQ/s1600/Screenshot+2018-11-07+at+18.25.46.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="490" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAwcpPWjtM1Yn2b9vo02MD7636NFzkG1x5FLTw6Zicrb5YOtjj5MMj3ZduSolkUa9RtF9mp4pHcOWMV1TE93c_bgujBldrzCxz0PPmfUXmip0JieP9wXQ4bapQ-KUqkLrqdv-smW2v4PQ/s640/Screenshot+2018-11-07+at+18.25.46.png" width="576" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Escena de banquete de la Tumba de los Escudos de Tarquinia en la que se aprecia la indumentaria y joyería masculina y femenina.</span><br />
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<span style="color: blue; font-size: x-large;"><u>1. Introducción. Etruria</u></span></div>
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<span style="font-size: x-large;">En la formación de la cultura romana es esencial la importancia e influencia que sobre ella ejercieron la apasionante civilización etrusca. </span></div>
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<span style="font-size: x-large;">Los etruscos eran un pueblo del centro de Italia, base de la civilización de la antigua Roma. Fueron una indiscutible potencia militar y política. Su riqueza procedía de las minas de hierro de la isla de Elba y del comercio. Vivan básicamente de la agricultura y del comercio.</span></div>
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<span style="font-size: x-large;">Cronológicamente, la civilización etrusca se desarrolla entre los siglos VIII al III a. C. Lograron una cierta unidad, como estado sólido y colonialista y con el tiempo llegaron a dominar la península itálica. </span></div>
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<span style="font-size: x-large;">Pueblo refinado y vitalista, su arte, base del romano, es esplendoroso: desarrollaron la pintura mural –en las tumbas-; la arquitectura: conocen el arco y la bóveda. Esta es su principal aportación a Roma. Y además crearon la “columna toscana”; realizaron esculturas con un cierto sentido del retrato, además de apasionarles las representaciones de animales, como l<i>a quimera de Arezzo</i> o <i>la loba capitolina</i>. </span></div>
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<span style="font-size: x-large;">Destacaron en la elaboración de sepulcros –en piedra o terracota- y brillaron en las artes decorativas, especialmente en joyas –sin parangón en su época- y la cerámica.</span></div>
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<span style="font-size: x-large;">El arte etrusco en general, atravesó en sus inicios un periodo orientalizante (siglos VIII-VII a de C) y después por una etapa de influencia griega (siglos VII-VI a de C). Finalmente el arte etrusco fue absorbido por el romano.</span></div>
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<span style="color: blue; font-size: x-large;"><u>2. Los Precendentes de la Indumentaria Romana: Grecia y Etruria</u></span></div>
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<span style="font-size: x-large;">La INDUMENTARIA ROMANA se basa en la griega y la etrusca.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Pinturas murales procedentes de la necrópolis de Tarquinia en las que se aprecia la colorista indumentaria etrusca</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sintetizando mucho, podemos destacar como notas distintivas de la indumentaria etrusca, precedente de la romana:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">* En primer lugar, aunque no se han conservado vestigios materiales de indumentaria etrusca, si contamos, afortunadamente, con restos pictóricos de excepcional belleza e importancia que nos permiten deducir cómo fue la vestimenta de esta antigua civilización.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Partimos de la base de que los ejemplos que nos han llegado eran de etruscos adinerados así como de músicos y danzantes. En algún caso también de sirvientes.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Conocían el arte de la tejeduría. Sus indumentos eran de lana y lino. El lino etrusco gozó de gran fama. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*En las pinturas se aprecian la fascinación por los indumentos de vivo colorido: azul, verde, amarillo, naranja, rojizo, púrpura, etc.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Es una indumentaria basada en la griega con claras influencias orientales que se aprecian en los tocados cónicos y en los zapatos puntiagudos hechos de cuero y teñidos de colores (rojo, por ejemplo).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Los trajes eran cosidos o drapeados.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Las mujeres llevaban túnicas tipo <i>chitón</i>, con o sin cinturón, de manga corta que cubrían con un manto largo y rectangular, al estilo del <i>himation</i> griego.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Es una indumentaria más lujosa que la griega, rica en variedad, cortes y diseños, así como motivos ornamentales (estrellas, lunares, flores) dispuestos en cenefas, en complejos bordados. Utilizaban sofisticadas joyas y broches (fíbulas).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ejemplos de<i> trebenna,</i> a través de la pintura y las esculturas etruscas: un orador del siglo I a. C.; estatuilla de terracota de Cerveteri realizada a mediados del siglo VII a. C. Porta una capa pintada de color rojo-púrpura sostenida con una fíbula de tipo oriental. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*El escritor griego Dionisio de Halicarnaso aseguraba que los reyes etruscos llevaban como símbolo de poder túnicas de púrpura con adornos de oro. Posteriormente los romanos utilizarían los colores rojizos y púrpuras como distintivo de emperadores y figuras prominentes de la sociedad.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*La principal aportación etruscas a la indumentaria fue la TEBENNA (o trebenna) antecedente de la toga romana. Era una prenda masculina. Envolvía el cuerpo dejando el hombre derecho desnudo. Los romanos adaptaron este indumento haciéndolo mucho más largo y doblándolo en repetidos pliegues. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los etruscos otorgaron un sentido más “democrático” a su <i>tebenna</i> ya que la portaban, habitualmente de color blanco, hasta los músicos, como vemos en sus pinturas de Tarquinia, y no solo las figuras más poderosas de la sociedad.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">En estas pinturas de Tarquinia aparecen dos elementos de influencia oriental: las botitas rojas (Tumba de los Augures) y el tocado cónico del danzante de la imagen.</span></div>
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<span style="font-size: x-large;">E<span style="font-family: "arial" , "helvetica" , sans-serif;">n la Tumba de los Augures de Tarquinia (c. 520 a.C.) también aparece una <i>tebenna</i> de color rojizo con las botitas a juego. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Uno de los ejemplos más peculiares de indumentos etruscos es el retrato de <i>Vel Saties </i>que apareció en la Tumba François de Vulci (finales del siglo IV a. C.) Lleva una sorprendente túnica azul oscura con cenefas bordadas con meandros.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Retrato de <i>Vel Saties,</i> Tumba François, Vulci. Acuarela realizada por Carlo Ruspi basada en la pintura original etrusca (imagen derecha)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los motivos ornamentales de esta prenda –aparte de la cenefa- son figurativos: varios danzantes desnudos, portando un escudo. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los etruscos fueron un pueblo refinado, amante del arte. En esta civilización alcanzó un brillante desarrollo la joyería y orfebrería, es uno de los grandes capítulos de toda la historia de las joyas.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Joyas etruscas del siglo V a.C., Museo MET</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Detalle de la técnica granulado en una fíbula etrusca</span></div>
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<span style="font-size: x-large;">Este <i>pendant</i> o colgante de oro está realizada con la técnica de repujado y con detalles en filigrana y granulado. Representa al dios del rio Achelous, hijo de Océano y Tetis. Está identificado por su barba y sus cuernos de toro. Es una imagen apotropaico, para proteger de maleficios o posibles desgracias. Esta pieza inspiró gran cantidad de copias en el siglo XIX. Es una de las obras maestras de la joyería etrusca.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sarcófago de Larthia Seiantini, espléndido ejemplo de escultura etrusca, siglo IV a de C, Museo Arqueológico de Florencia. Aparece ricamente ataviada con una túnica a modo de <i>chitón </i>con cinturón y un <i>himation</i>. Porta una diadema de rosas, pendientes, un colgante y brazaletes. Sostiene en su mano izquierda un espejo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sarcófago de Thanunia Seianti, c. 150-130 a de C, Museo Británico de Londres. Lleva una tiara y diversas joyas así como su <i>chiton </i>con <i>himation</i></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-8103977126155656632023-11-24T09:57:00.000+01:002023-11-24T09:57:25.840+01:000.4. LA INDUMENTARIA EN LA ANTIGUA GRECIA (SEGUNDA PARTE)<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">3. Accesorios. Peinados y Tocados. Joyas</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">La <b style="mso-bidi-font-weight: normal;">sandalia </b>es
el calzado por antonomasia de la antigua Grecia. Indistintamente lo llevaban
hombres y mujeres. Solían ser de cuero y de varios colores: </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">púrpura, negras, blancas o verdes. </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Las sandalias femeninas eran más elaboradas: podían llevar perlas e
incluso bordados.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Ejemplos de sandalias
griegas que apreciamos en las fuentes iconográficas; Atenea Niké ajustándose la
sandalia, siglo V a de C.; frasco de perfume de cerámica con forma de pie
calzado con sandalia, Taranto, siglo VII a. de C.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Recreaciones de sandalias griegas<o:p></o:p></span></div>
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<span lang="ES"><span face=""arial" , "helvetica" , sans-serif"><span style="font-family: arial; font-size: medium;">Los actores griegos
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<span lang="ES" style="font-family: "arial";"> Máscara de teatro griega, siglo II a. de C.</span></div>
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<span lang="ES" style="font-family: "arial";"> Actor con ónkos (máscara trágica) y coturnos</span></div>
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<span lang="ES" style="font-family: "arial";"> <span style="font-size: xx-small;">Coturnos (reconstrucción moderna)</span></span></div>
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<span lang="ES" style="font-family: "arial"; line-height: 115%;">Tocados griegos basados en las esculturas tanagras; Mercurio llevando el
sombrero <i style="mso-bidi-font-style: normal;">petasus</i></span><span lang="ES-TRAD" style="font-family: "arial"; line-height: 115%;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">El ideal de belleza femenina era <b style="mso-bidi-font-weight: normal;">la
piel pálida</b>, señal de no haber trabajado al aire libre, ni de ser pobre o
esclavo. Las mujeres se aplicaban blanco de plomo para aclarar la tez y sombreaban
sus ojos con polvo oscuro. También se pintaban los labios.<o:p></o:p></span></div>
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hombres por lo general llevaban el cabello corto. Usaban aceites y perfumes en
ellos. Las mujeres, en cambio, solían tener el pelo largo lo que propiciaba la
elaboración de preciosos recogidos con bandas que dejaban caer mechones en
ondas. <o:p></o:p></span></div>
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complicados con postizos, rizos y ondas. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Ejemplos de peinados y tocados. En esta
escultura del siglo III a. de C. se aprecia la belleza de un recogido griego.<o:p></o:p></span></div>
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y pendientes.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"> Se hacían también <b style="mso-bidi-font-weight: normal;">copias </b>en
bronce y arcilla.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">La tipología de joya más habitual eran las <b style="mso-bidi-font-weight: normal;">fíbulas</b> o broches que utilizaban en su indumentaria.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;">La joyería en Grecia se utilizaba para eventos públicos u <b style="mso-bidi-font-weight: normal;">ocasiones especiales</b>, no eran de uso
común. Se solían ofrecer como <b style="mso-bidi-font-weight: normal;">regalos </b>y
era un <b style="mso-bidi-font-weight: normal;">símbolo </b>de estatus social y
económico. Solían tener <b style="mso-bidi-font-weight: normal;">función
apotropaica </b>para evitar el mal de ojo y propiciar poderes sobrenaturales.
Con frecuencia tenían <b style="mso-bidi-font-weight: normal;">simbolismo
religioso </b>y de hecho se regalaban a los <b style="mso-bidi-font-weight: normal;">dioses</b>. </span><span lang="ES" style="font-family: "arial";">Entre los
motivos apotropaicos destacan los nudos de Hércules, las victorias aladas o
Niké, las serpientes…<o:p></o:p></span></div>
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<span lang="ES" style="font-family: "arial";">Otros motivos
decorativos eran de carácter naturalista como figuras de palomas, rosetas,
hojas de mirto, etc.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Espejo de bronce griego, etapa clásica,
mediados de siglo V a de C, MET, Nueva York<o:p></o:p></span></div>
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<!--EndFragment--></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Brazalete con el nudo de Hércules, la
victoria alada y las serpientes, etapa helenística; </span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;">Anillo de oro y lapislázuli, c. 1850-1550, a
de C.; Este anillo muestra el diseño –omnipresente en el arte cretense y por
extensión en el griego- del llamado <i style="mso-bidi-font-style: normal;">nudo
de Hércules</i> o <i style="mso-bidi-font-style: normal;">nudo de matrimonio, </i>una
especie de amuleto apotropaico para prevenir el mal y propiciar el bien. Era un
símbolo de matrimonio, un símbolo de unión y enlace. También propiciaba la
fertilidad. Lo encontraremos también en la civilización romana.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ru2kCxHQMC6jnrZlyQx9IAp-TqwQdvq99-YIqvqY-sr9GTmjcPnZGpyUH2C_a14SshVHsCsx0SYoq43-7dJJ12HjeMdmeZkz4TT2aNWYRrgKsiYpvMMivSkVPf58DiIsjGNnZ6072pk/s1600/1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="507" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ru2kCxHQMC6jnrZlyQx9IAp-TqwQdvq99-YIqvqY-sr9GTmjcPnZGpyUH2C_a14SshVHsCsx0SYoq43-7dJJ12HjeMdmeZkz4TT2aNWYRrgKsiYpvMMivSkVPf58DiIsjGNnZ6072pk/s400/1.png" width="400" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM0ZFTNNAUR1jPLPRuoRZ5LIAePf6JojUwnnNexsFaudumSbtvo8vxnjQtd5ye3_eEmp1JjUzqsKPrKhEv9Dxlj1E1JUfJEX1d2uMvH_-j55G_G0wvnJWYQ8Ww7aoGfqTcgP2ye4P1K0/s1600/1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="342" data-original-width="520" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM0ZFTNNAUR1jPLPRuoRZ5LIAePf6JojUwnnNexsFaudumSbtvo8vxnjQtd5ye3_eEmp1JjUzqsKPrKhEv9Dxlj1E1JUfJEX1d2uMvH_-j55G_G0wvnJWYQ8Ww7aoGfqTcgP2ye4P1K0/s640/1.png" width="640" /></a></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">FUENTES
DE DOCUMENTACIÓN<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Bibliografía<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Bembibre, C., y Crogliano, M. E., <i style="mso-bidi-font-style: normal;">Grecia:
indumentaria, mitos y tejidos,</i> Ed. Nobuko, 2003.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Cosgrave, B., <i style="mso-bidi-font-style: normal;">Historia de la
moda. Desde Egipto hasta nuestros días</i>, Gustavo Gili, Barcelona, 2005.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Fernández-Villamil, C., <i style="mso-bidi-font-style: normal;">Las artes
aplicadas</i>, Tomo 1, Madrid, 1975.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Figueras, J., <i style="mso-bidi-font-style: normal;">Historia de la
Moda. Pasado, presente y futuro, </i>Eiunsa, Madrid, 2012.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Galeano Pérez, A., <i style="mso-bidi-font-style: normal;">Atlas
ilustrado. El peinado, historia y presente</i>, Madrid, Ed. Susaeta,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Laver, J., <i style="mso-bidi-font-style: normal;">Breve historia del
traje y la moda</i>, Madrid, Cátedra, 1988.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Rieff Anawalt, P, <i style="mso-bidi-font-style: normal;">Historia del
vestido</i>, Blume, Barcelona, 2008-<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Recursos
en Red<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://algargosarte.blogspot.com/">ALGARGOS. BLOG DE ARTE DEL PROFESOR ALFREDO GARCÍA</a></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://historiadeltraje.blogspot.com/">HISTORIA DEL TRAJE. BLOG DEL PROFESOR PABLO PENA </a></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.metmuseum.org/art/metpublications/Greek_Art_From_Prehistoric_to_Classical">GREEK ART FROM PREHISTORIC TO CLASSICAL. RESOURCESFOR TEACHERS, MET MUSEUM</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.ancient.eu/article/20/ancient-greek-clothing/">ANCIENT GREEK CLOTHING (1)</a></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.ducksters.com/history/ancient_greece/clothing.php">ANCIENT GREEK CLOTHING (2)</a></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://world4.eu/the-ancient-greek-costume/">ANCIENT GREEK COSTUME</a> </span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://draft.blogger.com/catedra%20marino%20https://historiadeltraje.com/tag/peplo/">HISTORIA DEL TRAJE </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.metmuseum.org/toah/works-of-art/2011.582/">MUSEO METROPOLITAN DE NUEVA YORK </a></span></div>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://world4.eu/the-ancient-greek-costume/">ANCIENT GREEK COSTUME</a> </span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">A<a href="http://emg-zine.com/item.php?id=867">NCIENT GREECE MITHOLOGY AND CLOTHING STYLES </a><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://lesfeuxdelagora.free.fr/wordpress/wp-content/uploads/Les-v%C3%AAtements-grecs.pdf">LE VÊTEMENTS GRECS </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.fotogramas.es/famosos-celebrities/g1706075/peplum-o-como-un-trozo-de-tela-cambio-la-historia-del-cine/?slide=18">PÉPLUM O CÓMO UN TROZO DE TELA CAMBIÓ LA HISTORIA DEL CINE</a></span></div>
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<span style="color: blue; font-family: "arial";"><a href="https://sites.google.com/site/travesaticano/cultura-clasica/imagenes/actores-y-vestuario">CULTURA CLÁSICA</a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;"><br /></span></div>
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-904690341689782332023-11-14T08:33:00.000+01:002023-11-14T08:33:35.494+01:000.4. LA INDUMENTARIA EN LA ANTIGUA GRECIA (PRIMERA PARTE)<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4cVyBx93ArZUR5DlEyAMvTWwa7_NIF1sgEt7OZre1aRCmWy9kPu0_qB_p71PEtsQzXw1-WayNI75YQiTB-WNFDwGEO_dRqHwZ4BtMrUbiJtRNTrIA2JkGm0xBUdKN-moJXYyirWNTmu4/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="869" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4cVyBx93ArZUR5DlEyAMvTWwa7_NIF1sgEt7OZre1aRCmWy9kPu0_qB_p71PEtsQzXw1-WayNI75YQiTB-WNFDwGEO_dRqHwZ4BtMrUbiJtRNTrIA2JkGm0xBUdKN-moJXYyirWNTmu4/s640/1.png" width="640" /></a></div>
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<b><u><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">1. Introducción</span></u></b><span lang="ES-TRAD" style="color: #4b4b4b; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">1.1. Marco Cronológico y Geográfico<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Cronológicamente</span></b><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"> <span style="color: black;">podemos situar los inicios de la cultura
griega en el siglo VII a.C. y finalizando en el 146 a.C., siendo ésta una fecha
de referencia cuando la última polis griega independiente, Corinto,<span style="mso-spacerun: yes;"> </span>es conquistada por el Imperio Romano. No es
que se acabe en ese momento pero sí empieza una nueva fase histórica donde
Grecia no es sino una provincia más dentro de la civilización dominante romana.
<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="color: black; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Durante esos seis siglos podemos
apreciar varias fases o </span><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">etapas:</span></b><span lang="ES-TRAD" style="color: black; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*la
<b style="mso-bidi-font-weight: normal;">Arcaica </b>(siglo VIII-fines del siglo
VI a de C) Fase de formación de las polis griegas y fase de plena expansión con
la colonización mediterránea. Es una fase de ascenso cultural.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*la
<b style="mso-bidi-font-weight: normal;">Clásica</b><span style="color: black;">
(siglo V y IV a de C). Los frutos de la colonización convierten a las polis
griegas en ciudades ricas y prósperas. Es la fase de plena hegemonía helena y
de desarrollo cultural. A este siglo V también se le llama “el siglo de
Pericles”.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*la
<b style="mso-bidi-font-weight: normal;">Helenística</b><span style="color: black;">
(siglo IV al I a de C). La colonización se ha paralizado y está en franco
retroceso. Paralelamente comienzan las guerras civiles entre polis, las guerras
médicas contra el vecino persa y la unificación del territorio heleno bajo la
hegemonía de Macedonia.<span style="mso-spacerun: yes;"> </span>Por último, la
cultura helena se extiende gracias al Imperio de Alejandro Magno, recibiendo
influencias orientales. Todo ello lleva a un empobrecimiento económico y
cultural, así como a un cambio en los valores humanísticos anteriores.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjti-iJe4KtQMBbybmqgQVEFGz0FPm1HetvL4H0C-PUI6x05T7y_0kd3jpnVRyc3HwIHD_fllQtaPV2Qd-5d3iFWtQWQSlENHteVwDTewc5o3_0Ivb3Znrbp-Rc0OqwHmTGN9ZZYw-_ihg/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="261" data-original-width="801" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjti-iJe4KtQMBbybmqgQVEFGz0FPm1HetvL4H0C-PUI6x05T7y_0kd3jpnVRyc3HwIHD_fllQtaPV2Qd-5d3iFWtQWQSlENHteVwDTewc5o3_0Ivb3Znrbp-Rc0OqwHmTGN9ZZYw-_ihg/s640/1.tiff" width="640" /></a></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Marco
geográfico</span></b><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La civilización de la antigua Grecia se
extendió por lo que actualmente es:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*
<b style="mso-bidi-font-weight: normal;">Grecia</b> (parte continental y parte
insular) <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*Las
costas de <b style="mso-bidi-font-weight: normal;">Asia Menor</b> (actualmente
Turquía y por entonces llamada <b style="mso-bidi-font-weight: normal;">la Jonia</b>)<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 1;"> </span>*Y
la llamada <b style="mso-bidi-font-weight: normal;">Magna Grecia</b>, formada por
las colonias del sur de Italia y Sicilia. En tiempos de Alejandro Magno (siglo
III a de C) esta civilización se extendió hasta la India, Afganistán….<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">1.2. El Contexto.
Sociedad, Arte y Cultura<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La civilización de la antigua Grecia es una de
las más apasionantes de todos los tiempos: es la <b style="mso-bidi-font-weight: normal;">base de la cultura</b> <b style="mso-bidi-font-weight: normal;">occidental</b>.
Sobre ella se asienta nuestra civilización. Lo que pensaron, pintaron,
escribieron y experimentaron en aquellos tiempos son asuntos que todavía hoy
alimentan nuestros pensamientos. Casi todas las <b style="mso-bidi-font-weight: normal;">artes</b> y las <b style="mso-bidi-font-weight: normal;">ciencias</b> nos
fueron dadas por los griegos: la astronomía, la filosofía, las matemáticas, la
ingeniería, la arquitectura, la medicina, la filosofía, la literatura, la
economía, el derecho, la organización política, la invención de la moneda e
incluso la invención de la Historia como disciplina que estudia los hechos del
pasado del hombre. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Las <b style="mso-bidi-font-weight: normal;">fuentes
para el estudio de la antigua Grecia</b> son: los yacimientos arqueológicos, la
literatura y la historia escrita por los griegos de aquella época. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Recordemos que los griegos fueron los primeros
en escribir relatos históricos y que su historiador <b style="mso-bidi-font-weight: normal;">Herodoto </b>es llamado “el padre de la Historia”.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Organización
político-social</span></b><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La antigua Grecia no llegó a ser nunca un
imperio o una nación en sentido estricto, sino muchos pequeños <b style="mso-bidi-font-weight: normal;">ciudades-estados</b> -llamados <b style="mso-bidi-font-weight: normal;">polis-</b>, con una <b style="mso-bidi-font-weight: normal;">lengua</b> común a todos –el griego- y una <b style="mso-bidi-font-weight: normal;">religión-mitología</b> basada en la creencia en muchos dioses. Entre
las principales ciudades-estado destacaron Esparta y Atenas. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES-TRAD;">El ideal político
griego es la <b>democracia </b>ateniense del siglo V a.C.: el ciudadano
participa de los asuntos públicos a través de la Ecclesia (asamblea). Del
derecho de ciudadanía son excluidas las mujeres, los extranjeros y los
esclavos.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La <b style="mso-bidi-font-weight: normal;">mitología
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importantísimas en la vida cotidiana griega. Elaboraron una religión
antropomórfica en la que los dioses son concebidos a imagen y semejanza
humana<span style="mso-spacerun: yes;"> </span>hasta el punto de que se
diferencian del hombre solamente por ser inmortales y por su mayor sabiduría y
poder. Cada ciudad solía estar bajo la protección de una divinidad, como por
ejemplo la diosa Atenea y la ciudad de Atenas. Las historias de la mitología
griega van a ser temas favoritos de los pintores y escultores europeos durante
siglos, incluso hasta la actualidad. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITHE6cUBslwDFqWZ66rPpr_olFbq33UJzNR-aA-S2nMJI-MeTUUN-gquAGiV70wSIntfwOZNytXU5Zew9Pj28nMJ_eBnF-SFZ2v9k8iSrrrrOzJ1V8EhnpeOSy9YxCR9C3l0WdnkGCEY/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="616" data-original-width="919" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITHE6cUBslwDFqWZ66rPpr_olFbq33UJzNR-aA-S2nMJI-MeTUUN-gquAGiV70wSIntfwOZNytXU5Zew9Pj28nMJ_eBnF-SFZ2v9k8iSrrrrOzJ1V8EhnpeOSy9YxCR9C3l0WdnkGCEY/s640/1.png" width="640" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Características
del arte griego<o:p></o:p></span></b></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Los griegos están considerados <b style="mso-bidi-font-weight: normal;">los “inventores” del arte</b>. Su ideal
artístico ha predominado durante siglos en nuestra cultura occidental, es el <b style="mso-bidi-font-weight: normal;">“canon griego”</b>. Será una referencia
obligada, una fuente de inspiración en otras etapas históricas como el Renacimiento,
el Neoclasicismo…<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">El arte griego es, como su cultura,<b style="mso-bidi-font-weight: normal;"> antropocéntrico</b>, es decir, está
realizado a medida del hombre. Ya decía el filósofo Protágoras que “</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES-TRAD;">El hombre<i> </i><span style="mso-bidi-font-style: italic;">es la medida de todas las cosas</span>”.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES-TRAD;">Es un arte basado en la imitación de la naturaleza
–<b style="mso-bidi-font-weight: normal;">mímesis- </b>Pero esa imitación de la
realidad es idealizada. Buscan la belleza, que está definida por la proporción,
armonía y equilibrio. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES-TRAD;">El arte griego no
está al servicio de un dios o de un monarca.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">
Es un <b style="mso-bidi-font-weight: normal;">arte vinculado a la polis</b>,
presenta así, una dimensión pública (plazas públicas, santuarios…). Los
clientes son fundamentalmente las comunidades urbanas, aunque también los
gobernantes y los particulares.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLe_so6f6yk6cQOU41lrubSjS7GYzq6-j0hwGiBa1FLswO9b5Ic9WE5TjdWsxRrRt5KEtQQhv0DX8OCUR2rsmb70cJDai8JF3Aw89kqYlWIQ4erbyCg591Iqn-WqTmILBbcK_1H4t3U3w/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="156" data-original-width="854" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLe_so6f6yk6cQOU41lrubSjS7GYzq6-j0hwGiBa1FLswO9b5Ic9WE5TjdWsxRrRt5KEtQQhv0DX8OCUR2rsmb70cJDai8JF3Aw89kqYlWIQ4erbyCg591Iqn-WqTmILBbcK_1H4t3U3w/s640/1.tiff" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Obras maestras del arte griego: el <i style="mso-bidi-font-style: normal;">Partenón</i> de Atenas; los <i style="mso-bidi-font-style: normal;">ídolos
prehistóricos de las Cícladas</i>; el <i style="mso-bidi-font-style: normal;">Discóbolo</i>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">1.3. Las Bases de la
Cultura Griega: Creta y Micenas<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Las bases de la cultura griega se encuentran
en las civilizaciones <b>cretense (también
llamada minoica) </b>y<b> en la micénica</b>.
Fueron el embrión de lo que sería más tarde la floreciente cultura griega. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La isla de Creta fue </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">una isla-crisol cultural de primer orden y el
centro neurálgico de un activo comercio entre Oriente y Occidente, entre Grecia, Asia Menor y Egipto. </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Fue una brillante talasocracia (:dominio del mar), durante el segundo
milenio antes de Cristo. En Creta se produjo un gran auge de ciudades –sin
fortificar- y surgieron numerosos palacios como Knossos (de c. 2000 a de C),
Faistos y Hagía Triada. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">Por su parte, en las ciudades griegas de <b>Micenas, Tirinto y Pilos</b>, fuertemente
amuralladas con muros <i>ciclópeos</i> (:
gigantescos) porque fueron pueblos muy guerreros, encontramos algunos ejemplos
muy interesantes de arte y arquitectura prehelénica. En concreto la <i>Puerta de los Leones </i>(c. 1300 a de C) <i>y el Tesoro de Atreo (</i>c 1500 a de C).<o:p></o:p></span></div>
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<b><u><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">2. La Indumentaria en la Antigua Grecia<o:p></o:p></span></u></b></div>
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<br /></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">2.1. Fuentes para su
Estudio<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Son inexistentes los vestigios materiales
de indumentos griegos salvo algún tejido.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">En cuanto a las fuentes <b>iconográficas</b> proceden de esculturas
–tanto relieves como figuras exentas- y la cerámica, ya que son muy escasos los
ejemplos de pintura –exceptuando la cretense- conservados al ser arrasados y
saqueados en buena medida por los romanos. En las representaciones de los vasos
cerámicos en ocasiones se incluyen exquisitos detalles de la indumentaria e
incluso calzado y joyas. Incluso en las artes decorativas –orfebrería, artes
del metal (bronces)- y la numismática, podemos encontrar referencias a los
indumentos de la antigua Grecia. Asimismo hay que tener en cuenta los
testimonios escritos ya sean documentales como literarios (Homero entre otros).
<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Pintura
mural representando un <i>simpósium </i>(simposio<i>) </i>en Paestum (Magna Grecia), c. 470
antes de Cristo. Es uno de los escasos ejemplos de pintura griega conservados.
Los personajes representados portan diademas-tocados en el pelo y llevan
túnicas talares -posiblemente <i>himations</i>-
con el pecho al aire.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">En esta imagen observamos
un <i>oinochoe</i> –recipiente cerámico para
el vino- que muestra a mujeres perfumando vestidos, c. 420 a de c, etapa
clásica, atribuido al pintor Meidias, MET, Nueva York. Llevan puesto <i>chitón</i> e <i>himations.</i> En el pelo portan cintas con motivos ornamentales tipo
meandros.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">2.2 Los Precedentes de la
Indumentaria Griega: Creta<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">La fastuosidad, originalidad y conexión con
Oriente que encontramos en las <b style="mso-bidi-font-weight: normal;">manifestaciones
artísticas</b> creto-micénicas tiene su perfecto correlato en su indumentaria. </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">El <b style="mso-bidi-font-weight: normal;">clima</b>
de Creta, templado y húmedo no ha propiciado –a diferencia de Egipto por
ejemplo- que se hayan conservado vestigios de vestidos de esta civilización.
Sin embargo, a </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;">través de<b style="mso-bidi-font-weight: normal;">
las pinturas </b>que han perdurado en sus palacios y en las <b style="mso-bidi-font-weight: normal;">esculturas</b> ligadas a sus prácticas
rituales podemos analizar la vestimenta de esta apasionante civilización, que
además desarrolló con gran perfección otras artes decorativas como la cerámica,
la joyería o la orfebrería. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">El diseño <b style="mso-bidi-font-weight: normal;">elegante</b> y vistoso así como la rica <b style="mso-bidi-font-weight: normal;">policromía </b>de los vestidos de las
pinturas cretenses nos permite deducir que en Creta las artes textiles
alcanzaron un alto desarrollo. Se cree que dominaban las técnicas de los<b style="mso-bidi-font-weight: normal;"> teñidos</b> de las telas a la vez que
aplicaban<b style="mso-bidi-font-weight: normal;"> ornamentaciones</b> muy
variadas, ya fueran tejidas o bordadas. Entre sus <b style="mso-bidi-font-weight: normal;">colores</b> preferidos figuraban el amarillo, el azul y el rojo.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;"><br /></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">2.2.1. La
indumentaria femenina cretense<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">La vestimenta femenina
de la civilización cretense o minoica nos presenta <b style="mso-bidi-font-weight: normal;">diseños </b>muy diferentes a los que veremos en la antigua Grecia. El
traje femenino era sumamente original. El <b style="mso-bidi-font-weight: normal;">concepto</b>
que subyace en él es lo opuesto al habitual en la vestimenta del mundo antiguo.
No muestran la holgura y la libertad de las túnicas griegas. Buscaban enfatizar
la anatomía y estilizarla mediante diseños muy femeninos. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">En sus <b style="mso-bidi-font-weight: normal;">fases iniciales</b> se trataba de una
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<![endif]--><!--StartFragment--><span lang="ES-TRAD" style="font-size: 10pt;"> Sacerdotisas y diosas
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<i><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Sacerdotisas y
hombres,</span></i><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10pt; line-height: 115%;"> procedentes del palacio de Knossos, Museo de Heraklion,
Creta, siglo XV a de C; sello cretense con las sacerdotisas de las serpientes; <i>Damas de azul</i>, procedentes del palacio
de Knossos, museo de Heraklion, Creta, siglo XV a de C</span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">En la parte superior, el
típico traje cretense está formado<span style="mso-spacerun: yes;"> </span>por
un <b style="mso-bidi-font-weight: normal;">corpiño </b>con gran escote que
dejaba el pecho al descubierto total o parcialmente. Las mangas aparecen
independientes totalmente del resto del traje. Marcan la cintura mediante un
cinturón y llevan una<b style="mso-bidi-font-weight: normal;"> falda</b> larga -aunque
en las fases iniciales de esta civilización eran cortas- con volantes
superpuestos, tal y como podemos apreciar en las pinturas murales y
especialmente en las célebres <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">sacerdotisas de las serpientes,</i></b>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">Esta <b style="mso-bidi-font-weight: normal;">falda</b> era totalmente independiente al resto de las prendas y
llegaba hasta los pies. Con frecuencia estos diseños presentaban diversos <b style="mso-bidi-font-weight: normal;">motivos ornamentales</b> de carácter
geométrico y vivos colores. Sobre la falda encontramos una especie de <b style="mso-bidi-font-weight: normal;">delantal</b> de forma redondeada por su
parte inferior, colocado sobre el arranque de la falda. Varios historiadores
han señalado las similitudes de esta indumentaria con otras de épocas
posteriores, como por ejemplo, la rococó
–por lo ajustado del corpiño, como si fuera un corsé, y la forma acampanada de
la falda, como si llevara miriñaque- o la del siglo XIX. Esta falda podemos considerarla
como el antecedente remotísimo de la falda de faralaes o traje de flamenca
típica andaluza, siglos antes de que surgiera. Por su parte, el delantal ritual
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en las reuniones masónicas. En ambos casos son meras coincidencias.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">2.2.2. La
indumentaria masculina cretense<o:p></o:p></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">La indumentaria masculina
cretense era muy sencilla. Comparativamente, es menos interesante que el
indumento femenino. Como norma habitual, consistía en un <b>faldellín</b> corto, en ocasiones ajustado con un cinturón de cuero y
metal. Este indumento deja al descubierto la mayor parte de las piernas y el
torso, tal como aparece representado en el espectacular <b><i>Príncipe de los Lirios</i></b><i> </i>del Palacio de Knossos. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV27uD2oKpfv0Ow9xWMoaXjD1mEzyNWE_eibthZ7hH5l08UMkQ7_3Zi-JfQHrJsls2kUCr9d09EhrFnwyoPS8tc8jsiUiCNmwAhyuprtE93Yh0mQdItGHkueV3WbiIbTer33xBZFHZxcM/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="668" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV27uD2oKpfv0Ow9xWMoaXjD1mEzyNWE_eibthZ7hH5l08UMkQ7_3Zi-JfQHrJsls2kUCr9d09EhrFnwyoPS8tc8jsiUiCNmwAhyuprtE93Yh0mQdItGHkueV3WbiIbTer33xBZFHZxcM/s640/1.tiff" width="640" /></a></div>
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<i style="text-indent: 35.4pt;"><span lang="ES-TRAD" style="font-size: 10pt; line-height: 115%;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="text-indent: 35.4pt;"><span lang="ES-TRAD" style="font-size: 10pt; line-height: 115%;">El Príncipe de los Lirios</span></i><span lang="ES-TRAD" style="font-size: 10pt; line-height: 115%; text-indent: 35.4pt;">,
procedente del palacio de Knossos, Museo de Heraklion, Creta, c. 1450 a. de C.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="ES-TRAD" style="font-size: 10pt; line-height: 115%; text-indent: 35.4pt;"><br /></span></div>
<br />
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">2.3. Claves y Tipologías
de la Indumentaria en la Antigua Grecia<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">La indumentaria de la antigua Grecia es una
extrapolación de su cultura antropocéntrica, de su arte eurítmico, armonioso, <b style="mso-bidi-font-weight: normal;">elegante</b> y equilibrado, a la medida del
hombre parafraseando a Protágoras. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Auriga de Delfos</span></i><span lang="ES" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">; <i>Nereida
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<br />
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Los <b>motivos
ornamentales</b> de los indumentos –si los hubiere- aparecen distribuidos en
franjas o bandas, son de tipo geométrico (grecas, meandros...) o vegetal
(palmas, palmetas), como en el resto del arte griego (arquitectura, cerámica).<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9q-JPuB7NRUqi4icexyhxTFM6DHqxjFFmMZ5FdreowausJEK5avk6K-PFrYSH8BoMndZzm6GiVdNXJmiGdkIjLaMXx9ZOPWIh_2m2-1VfNNCZI-NmdQzN9MgiQtkrtfilgZfSe_HtJA/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="630" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW9q-JPuB7NRUqi4icexyhxTFM6DHqxjFFmMZ5FdreowausJEK5avk6K-PFrYSH8BoMndZzm6GiVdNXJmiGdkIjLaMXx9ZOPWIh_2m2-1VfNNCZI-NmdQzN9MgiQtkrtfilgZfSe_HtJA/s640/1.png" width="640" /></a></div>
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<span style="font-family: "arial";"> </span><span style="font-family: "arial"; font-size: 10pt; text-align: center;">Ejemplos de estrellas
y grecas como motivos ornamentales presentes en la indumentaria griega</span></div>
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<span style="font-family: "arial"; font-size: 10pt;">Estatua
de bronce que muestra a una bailarina velada, c. siglo III-II antes de Cristo.
Los griegos asimilaron el gusto por túnicas y drapeados que ya habían aparecido
en Egipto.</span></div>
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las extraídas por los jonios de Asia Menor y de las creados por los propios
griegos. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">La realización de<b style="mso-bidi-font-weight: normal;"> textiles </b>fue una de las ocupaciones principales de las mujeres en
la antigua Grecia. Los tejidos los realizaban en las casas las mujeres. Lo
curioso es que esos tejidos los utilizaban no solo como vestido sino que le
daban diversos usos como ropa de cama incluso.<o:p></o:p></span></div>
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indumentaria de toda la familia, aparte de otros textiles del hogar. Ser una
gran costurera daba mucho prestigio, sinónimo de mujer atractiva y buena
esposa.<o:p></o:p></span></div>
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griega era de vivo <b style="mso-bidi-font-weight: normal;">colorido </b>–tal y
como nos muestran las fuentes iconográficas como las <b style="mso-bidi-font-weight: normal;">tanagras</b>- y generalmente iban decoradas con elaborados diseños de <b style="mso-bidi-font-weight: normal;">motivos ornamentales</b> en bandas o
cenefas, como los presentes en la arquitectura o cerámica (ovas, meandros,
grecas, etc.) Se cree que utilizaban pigmentos naturales e insectos para teñir
la ropa.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Ejemplos de
tanagras con vestimentas de vivo colorido<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Los indumentos de la antigua Grecia tendrán
una enorme <b style="mso-bidi-font-weight: normal;">transcendencia</b> en la
civilización romana e incluso en la neoclásica (siglos XVIII y XIX). Incluso su
huella es perceptible en diseñadores contemporáneos desde Mariano Fortuny, Madeleine
Vionnet, Madame Grès o Dior.<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10pt;">Vestido
neoclásico –moda Imperio- en este retrato que muestra a la española Teresa
Cabarrús, Madame Tallien; vestido </span><i style="font-family: Arial; font-size: 10pt;">Delphos</i><span style="font-family: "arial"; font-size: 10pt;">
diseño de 1909 de Mariano Fortuny; vestido de seda denominado </span><i style="font-family: Arial; font-size: 10pt;">Palladio</i><span style="font-family: "arial"; font-size: 10pt;"> de Haute Couture Dior,
colección 2011. En este espectacular diseño se aprecia las referencias
arquitectónicas de la arquitectura griega (columna jónica, decoración de ovas, volutas,
etc.)</span></div>
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indumentaria<b style="mso-bidi-font-weight: normal;"> griega</b> consistía
fundamentalmente en túnicas combinadas con mantos. Básicamente era la misma
para hombres y mujeres con algunas diferencias significativas.<o:p></o:p></span></div>
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<!--StartFragment--><i><span lang="ES" style="font-size: 10pt;">Artemisa
cazadora, </span></i><span lang="ES" style="font-size: 10pt;">copia
romana de mármol basada en un original en bronce, época Imperial, c. siglo
I-II, Museo Louvre. Lleva chitón y sandalias</span><!--EndFragment--> </o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">La indumentaria básica era una <b style="mso-bidi-font-weight: normal;">túnica</b> –ya fuera <i style="mso-bidi-font-style: normal;">chiton</i> o <i style="mso-bidi-font-style: normal;">peplos</i>- y una <b style="mso-bidi-font-weight: normal;">capa</b> o estola denominada himation.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Cada prenda de vestir carecía de forma por
sí misma, pues se trataba de <b style="mso-bidi-font-weight: normal;">rectángulos</b>
de tejido tal como salían del telar y sostenidos al cuerpo por broches,
cinturones o su propio replegado. Como mucho podía tener algunos puntos de
costura, pero siempre tan escasos que no existen en los textos antiguos
alusiones a profesionales de costureros o sastres. <o:p></o:p></span></div>
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facilitar actividades deportivas-, el largo de las túnicas que portaban las <b style="mso-bidi-font-weight: normal;">MUJERES</b> era <b style="mso-bidi-font-weight: normal;">talar</b>. La de los hombres era más corta.<o:p></o:p></span></div>
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entre las tipologías de indumentos más destacadas:<o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--></o:p></span></div>
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<span lang="ES-TRAD" style="color: #3366ff; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*</span><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Chiton<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Peplos<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Himation<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Clámide<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">La prenda habitual de las <b style="mso-bidi-font-weight: normal;"><span style="color: #3366ff;">MUJERES</span></b>
de la antigua Grecia era una túnica larga llamada <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: blue;">PEPLOS</span></i></b>.
*El <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">peplos</i></b>
que portaban las mujeres era una pieza rectangular sin costura,–generalmente
lana- sujeto con fíbulas y llevado con cinturón. Sobre la parte superior creaba
efectos ablusados ya que <span style="mso-spacerun: yes;"> </span>se replegaba
dando lugar al <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">kolpos</i></b><i style="mso-bidi-font-style: normal;">,</i> abultamiento
generado por los pliegues en la zona de la cintura, dando la impresión de ser
dos piezas en vez de una. El chiton también podía dar esa impresión. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">El peplos podía ser cerrado –sin ninguna
abertura lateral o frontal- aunque generalmente la presentaba sobre la pierna
izquierda. Podía ser realizada con lana de color crudo o de rico colorido. En
el caso del lino,<span style="mso-spacerun: yes;"> </span>propiciaba plisados y
drapeados de bellos efectos.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Ejemplos de peplos
griegos en esculturas: figura mitológica griega (¿Perséfone?); estela funerario
de una niña con peplos, c. 450 a de C; cariátide del templo Erecteion del
Partenón, siglo V a. de C.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixCV5IDQ-4Rzozi8-T81_XYNaLG5BfD4V3KIKAGAdxaibtDXvB9VoIg7wEdTsIyBpPpURXtnZO-DZS1BgJahsz4x3mfQJ1mlhdjj5N3H4oPWEsrHH4NqsqzbOjRXmjIRD1QLOEoH_FNzA/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="436" data-original-width="798" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixCV5IDQ-4Rzozi8-T81_XYNaLG5BfD4V3KIKAGAdxaibtDXvB9VoIg7wEdTsIyBpPpURXtnZO-DZS1BgJahsz4x3mfQJ1mlhdjj5N3H4oPWEsrHH4NqsqzbOjRXmjIRD1QLOEoH_FNzA/s640/1.png" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">En este dibujo se
aprecia como el doble pliegue superior del <i style="mso-bidi-font-style: normal;">peplos</i><o:p></o:p></span></div>
<br />
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">El peplos dio nombre al género <b style="mso-bidi-font-weight: normal;">cinematográfico</b> ambientado en Grecia y
Roma llamado “péplum”.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*El <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #3366ff;">CHITON</span></i></b>
eran un tejido mucho más ligero que el peplos, habitualmente de lino importado.
Era un rectángulo muy largo y ancho cosido en los laterales. <o:p></o:p></span></div>
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podían</span><span style="font-family: "arial";"> llevar algún tipo de banda suave cubriendo el tronco llamada </span><i style="font-family: Arial;">strophion.</i></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Ejemplos de <i style="mso-bidi-font-style: normal;">chitons</i>. La segunda
imagen es el célebre Auriga de Delfos, c. 470 a de C. Servirá de inspiración
para la túnica <i style="mso-bidi-font-style: normal;">Delphos </i>de Mariano
Fortuny; dibujo de un chiton según </span><span style="background: white; color: black; font-family: "arial"; font-size: 10.0pt; line-height: 115%;">Pearson Scott Foresman</span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Sobre el <i style="mso-bidi-font-style: normal;">peplos</i> podían llevar un tejido envolvente de forma rectangular e
incluso ovalada llamado<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: blue;"> HIMATION</span></i></b>.
Era de grandes dimensiones y se podía colocar de varias maneras,</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;"> indistintamente sobre un hombro u otro,
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mujeres griegas solían salir a la calle <b style="mso-bidi-font-weight: normal;">veladas.
</b>Podían presentar bordados distribuidos en cenefas o bandas ornamentales en
los bordes de esta<span style="mso-spacerun: yes;"> </span>prenda.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;"><o:p></o:p></span></div>
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era la túnica con cinturón <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #3366ff;">CHITON</span></i></b>,
similar a la que llevaban las mujeres pero mucho más corta, fundamentalmente por
motivos prácticos (trabajo). Podía llegar hasta la rodilla o menos. A partir
del siglo V a, de C. aparecen con costuras laterales lo que permitía la </span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-language: ES;">adición de mangas. <o:p></o:p></span></div>
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utilizaba para hacer ejercicio, montar a caballo o para labores en el campo.
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<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><o:p><br /></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFF-vK0Y8h6a9x0saTBBdM0HZmU81jPUfUvFC2WpXts4wps5Yd_YKYW-PRNZ2wRhHhmvabzOAVf260y5E1hBWcAUCuTF83gXtrkNaGtUsZC-vuTrMFKp5A1kpomUJyhfug6s_bPEFR1dI/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="247" data-original-width="688" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFF-vK0Y8h6a9x0saTBBdM0HZmU81jPUfUvFC2WpXts4wps5Yd_YKYW-PRNZ2wRhHhmvabzOAVf260y5E1hBWcAUCuTF83gXtrkNaGtUsZC-vuTrMFKp5A1kpomUJyhfug6s_bPEFR1dI/s640/1.tiff" width="640" /></a></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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masculino en su variante de </span><i style="font-family: Arial; font-size: 10pt; text-align: center;">exomis.</i><span style="font-family: "arial"; font-size: 10pt; text-align: center;">
Se ajustaba al hombre con una fíbula o una cinta.</span></div>
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<br />
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Otro indumento muy habitual era el <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #3366ff;">HIMATION</span></i></b> con el que envolvían parte de su
cuerpo sobre el chiton. Era una pieza rectangular, de lana o lino que se
disponía diagonalmente sobre el hombro o simétricamente sobre ambos hombros
como una estola. La llevaban hombres y mujeres. Los hombres la podían portar
dejando o no el pecho al descubierto. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Podían llevar el <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">himation</i></b> como única
prenda, sin chiton debajo, en ese caso iba muy ceñido. El himation era también
llamado <i style="mso-bidi-font-style: normal;">palio. </i>Era la prenda habitual
de los filósofos griegos que lo ceñían sobre el cuerpo, cubriendo el hombro
izquierdo.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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el antecedente de la <b style="mso-bidi-font-weight: normal;">toga</b> romana. <o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Cuando los hombres iban a montar a
caballo, de caza o a la guerra llevaban una capa llamada <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #3366ff;">CLÁMIDE</span>.
</i></b>La clámide era una prenda muy ligera y corta que se llevaba sujetada
con una fíbula sobre el cuerpo desnudo. Influirá en la indumentaria romana y
bizantina (en esta última, siendo una capa de largo talar). El origen de la
clámide se encuentra en las capas militares mesopotámicas.<o:p></o:p></span></div>
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<![endif]--><!--StartFragment--><span lang="ES-TRAD" style="font-size: 10pt;"> Ejemplo de clámide en la escultura griega como en
este magnífico relieve del Partenón realizado por Fidias</span><!--EndFragment--> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXsLmXXNYE8GF7kNvvsZGoKbYQNkO3sQouwOFN30smz7dkc3PN7IrKXAw2VCKeJ8pRsv3bAfHlzFkE9D9utgtMF0l_-BX3yfC9CTit0KhH8UEFV5rmVXyg39qLdvmIYzs8hZ273_lmVV4/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="343" data-original-width="628" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXsLmXXNYE8GF7kNvvsZGoKbYQNkO3sQouwOFN30smz7dkc3PN7IrKXAw2VCKeJ8pRsv3bAfHlzFkE9D9utgtMF0l_-BX3yfC9CTit0KhH8UEFV5rmVXyg39qLdvmIYzs8hZ273_lmVV4/s640/1.png" width="640" /></a></div>
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apreciamos la escultural silueta de la indumentaria griega: <i>himation</i> masculino
y <i>peplos </i>femenino. </span><i style="font-family: Arial; font-size: 10pt; text-align: center;">Friso de las Panateneas</i><span style="font-family: "arial"; font-size: 10pt; text-align: center;">
procedente del Partenón de Atenas, Fidias, siglo V a. de C.</span><br />
<span style="font-family: "arial"; font-size: 10pt; text-align: center;"><br /></span>
<br />
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">FUENTES
DE DOCUMENTACIÓN <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Bibliografía<o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Bembibre, C., y Crogliano, M. E., <i style="mso-bidi-font-style: normal;">Grecia:
indumentaria, mitos y tejidos,</i> Ed. Nobuko, 2003.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Cosgrave, B., <i style="mso-bidi-font-style: normal;">Historia de la
moda. Desde Egipto hasta nuestros días</i>, Gustavo Gili, Barcelona, 2005.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Fernández-Villamil, C., <i style="mso-bidi-font-style: normal;">Las artes
aplicadas</i>, Tomo 1, Madrid, 1975.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Figueras, J., <i style="mso-bidi-font-style: normal;">Historia de la
Moda. Pasado, presente y futuro, </i>Eiunsa, Madrid, 2012.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">*Galeano Pérez, A., <i style="mso-bidi-font-style: normal;">Atlas
ilustrado. El peinado, historia y presente</i>, Madrid, Ed. Susaeta,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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traje y la moda</i>, Madrid, Cátedra, 1988.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">ANCIENT GREEK COSTUME </span></div>
<div class="MsoNormal" style="line-height: 115%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">HISTORIA DEL TRAJE <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">ANCIENT GREEK COSTUME </span></div>
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O CÓMO UN TROZO DE TELA CAMBIÓ LA HISTORIA DEL CINE</span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-64576823195413220152023-11-10T09:01:00.000+01:002023-11-10T09:01:47.286+01:000.3. Hª DE LA INDUMENTARIA EN EL ANTIGUO EGIPTO. 2ª PARTE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZ8SHSzwuTrkPKJ2HdSQ5W_w2LGHb7kQoWG76Vk9EYXuLOkRH71mWFy4kMX_OBxD_3wMEAMRnynV4VVtY9a-n6izpdb8oX-k05mlDsTMhGsLd7vb6T1f8HuCDC6kADl6P1-vhR2NRdAU/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="523" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBZ8SHSzwuTrkPKJ2HdSQ5W_w2LGHb7kQoWG76Vk9EYXuLOkRH71mWFy4kMX_OBxD_3wMEAMRnynV4VVtY9a-n6izpdb8oX-k05mlDsTMhGsLd7vb6T1f8HuCDC6kADl6P1-vhR2NRdAU/s640/1.png" width="640" /></a></div>
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<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;">2.7.</span></i><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;"> Adornos
y Joyas Apotropaicas. Tocados, Pelucas, Cosmética<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></span></div>
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<span style="font-size: large;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">La <b style="mso-bidi-font-weight: normal;">joyería</b> del antiguo Egipto es
una de las más fascinantes de todos los tiempos. En este arte los egipcios eran
unos consumados maestros. Realizaban piezas de gran suntuosidad y belleza, de
viva <b style="mso-bidi-font-weight: normal;">policromía</b>.</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Hemos de partir de la base de que los antiguos egipcios eran muy
aficionados a <b style="mso-bidi-font-weight: normal;">adornarse</b>, tanto <b style="mso-bidi-font-weight: normal;">hombres</b> como <b style="mso-bidi-font-weight: normal;">mujeres</b>, desde los más acomodados a los menos pudientes. Y es que
las <b style="mso-bidi-font-weight: normal;">joyas</b> jugaron un importante
papel en todos los niveles de la vida egipcia, añadiendo <b style="mso-bidi-font-weight: normal;">color </b>a sus sencillos trajes de lino banco. Resaltaban, además, en
contraste con sus negras pelucas y sus ojos vivamente pintados con kohl.<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Como es habitual, los <b style="mso-bidi-font-weight: normal;">diseños y
materiales</b> variaban en función de las posibilidades económicas del
poseedor, siendo los ejemplos más fulgurantes los relativos a los <b style="mso-bidi-font-weight: normal;">faraones</b> y sus familias. </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBkxTOHg4sqfQRb2yyY_-IpCwmzRQHp1qLn1YVq9AT4qKZsETU_Stj6bmOh2p_sfdhFXD1zxWD6dzjdLNknjU85GPAhWciliP6VrD6ahoGFhXMDWRs8FqLHrWEHd4dTB5fOtxyUqN2tk/s1600/2.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="149" data-original-width="624" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBkxTOHg4sqfQRb2yyY_-IpCwmzRQHp1qLn1YVq9AT4qKZsETU_Stj6bmOh2p_sfdhFXD1zxWD6dzjdLNknjU85GPAhWciliP6VrD6ahoGFhXMDWRs8FqLHrWEHd4dTB5fOtxyUqN2tk/s640/2.tiff" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Cofre con brazaletes de plata de la reina Hetepheres, Imperio Antiguo, IV
dinastía. Los motivos ornamentales son animalísticos –mariposas- y presentan
incrustaciones de cornalina, turquesas, lapislázuli...Museo de El Cairo<o:p></o:p></span></div>
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<!--StartFragment-->
<span lang="ES-TRAD" style="font-family: "arial";"><span style="font-size: large;">Las joyas solían ser omnipresentes en los <b>ajuares funerarios</b>, ya que los difuntos eran espléndidamente
adornados, usualmente con piezas que habían llevado cuando estaban vivos
–aunque algunas joyas de oro más fino se hacían específicamente para <b>uso funerario</b>- y sus sarcófagos eran
cubiertos con lino y oro. Incluso los más humildes eran enterrados con
sencillos collares. Desgraciadamente, la mayor parte de las tumbas fueron <b>saqueadas</b>, y las joyas y piezas de
orfebrería, fundidas.</span></span><!--EndFragment--></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Las joyas del antiguo Egipto no eran simplemente objetos bellos y
decorativos. Su <b style="mso-bidi-font-weight: normal;">función y significación</b>
era esencialmente simbólica, una forma de revelar la religión y sus misterios.
Presentaban por lo general, un carácter <b style="mso-bidi-font-weight: normal;">apotropaico,</b>
que, en contacto con el cuerpo, “tenían” efectos beneficiosos para la persona
que las portaban, ya fueran hombres o mujeres. Por lo tanto eran
joyas-talismanes. Así las <b style="mso-bidi-font-weight: normal;">tipologías</b>
están en función de su significación: collares <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">usej,</i></b> amuletos de
escarabajos –<i style="mso-bidi-font-style: normal;">escarabeos</i>- y ojos apotropaicos
llamados<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> wedjat</i></b>, claras alusiones a Horus y los<b style="mso-bidi-font-weight: normal;"> <i style="mso-bidi-font-style: normal;">ankhs</i></b> o símbolos de
vida. Las joyas más habituales eran pendientes, brazaletes, anillos, pulseras,
pectorales, tobilleras, diademas…<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">La palabra <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">usej</i></b> -significa "ancho" en egipcio- y es el nombre de
los collares habituales que portaban la nobleza en el antiguo Egipto.<b style="mso-bidi-font-weight: normal;">.</b> Presentan forma de media luna y eran
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Los podemos encontrar realizados en diversos materiales desde <i style="mso-bidi-font-style: normal;">faience</i> hasta oro, pastas vítreas,
cornalinas… Estos materiales aparecen solos o combinados produciendo como
resultado piezas de rica policromía. Es interesante destacar que solían ser
collares un tanto pesados por lo que el portador del mismo debía llevar un
contrapeso sobre la espalda. En las momias aparecían pintados igual que en
relieves, esculturas y frescos. El <b style="mso-bidi-font-weight: normal;">Libro
de los Muertos</b>, una verdadera guía de rituales para el más allá, especifica
con detalle los ritos que debían realizarse en los funerales, donde la
colocación del <i style="mso-bidi-font-style: normal;">usej</i> era esencial como
forma de protección al difunto.<span style="mso-spacerun: yes;"> </span>A estos
collares los denominan también <b style="mso-bidi-font-weight: normal;">gorgueras</b>.</span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Collar <i style="mso-bidi-font-style: normal;">usej </i>en faience y anillo,
de esa misma técnica, con el ojo apotropaico relativo a Horus<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Los <b style="mso-bidi-font-weight: normal;">pendientes</b> eran de gran
tamaño y muy pesados, posiblemente por influencia asiática</span>. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Los <b style="mso-bidi-font-weight: normal;">escarabeos</b> eran los amuletos
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símbolo de buena fortuna, de resurrección, vida, fecundidad y fertilidad. El
escarabajo tenía una gran importancia en los rituales funerarios. Se colocaba
sobre el pecho del difunto en el juicio final para proteger al corazón y
sustituirle en la momificación. Eran esenciales para poder alcanzar la vida
eterna. En vida lo solían llevar en brazaletes o pulseras en el brazo o muñeca
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<!--StartFragment--><span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;"> Amuletos
para el pelo con forma de pez. Los peces tenían un simbolismo apotropaico para
no morir ahogados.</span><!--EndFragment-->
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIWoPmrceT9U1vscqBWK7WBNHs0_4doMBYZyujo2mgVUe2cX2qecKiGwly-m5Q4q4leIkbn8RwY3npwKIgq034zgVEWO6iCIZDJ8WU0iLykOIkeh3QsosBJH_k-MaJ5gAKg-7fbZ5Puk/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="494" data-original-width="670" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitIWoPmrceT9U1vscqBWK7WBNHs0_4doMBYZyujo2mgVUe2cX2qecKiGwly-m5Q4q4leIkbn8RwY3npwKIgq034zgVEWO6iCIZDJ8WU0iLykOIkeh3QsosBJH_k-MaJ5gAKg-7fbZ5Puk/s640/1.png" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Pectoral procedente de la tumba de Tutankamon, Imperio
Nuevo, rico en símbolos parlantes de connotaciones religiosas: ojos apotropaicos
alusivos a Horus, escarabajo como referencia al dios Jepri, disco solar, el
ureus o cobra erguida que hace referencia a una divinidad protectora de los
faraones, el <i style="mso-bidi-font-style: normal;">ankh</i> o símbolo de vida…<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Por lo que se refiere a los <b style="mso-bidi-font-weight: normal;">materiales</b>
preciosos, se prefiere el <b style="mso-bidi-font-weight: normal;">oro </b>–la
plata aparece con mucha menos frecuencia-. El <b style="mso-bidi-font-weight: normal;">oro</b> era extraído del desierto de Nubia y lo utilizaron con
profusión. Tenía un fuerte valor simbólico ya que para ellos era “la carne de
los dioses”. <o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Utilizaban diversas <b style="mso-bidi-font-weight: normal;">técnicas</b> y todo
tipo de piedras preciosas y semipreciosas como el lapislázuli, la turquesa, la
cornalina, la amatista, las ágatas, calcedonias, esmeraldas, obsidianas…</span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;"> Diadema de Tutankamon; Diadema de la princesa </span><span lang="ES" style="font-family: "arial"; font-size: 9.0pt;">Khnumit</span><span style="font-family: "arial"; font-size: 9.0pt;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Escultura donde se aprecia claramente la peluca con
adornos de oro. El refinamiento de esta civilización se hace patente hasta en
los peinados y tocados. Un buen ejemplo son las aplicaciones de oro en las
pelucas –como en esta reconstrucción </span><span lang="ES" style="font-family: "arial"; font-size: 9.0pt;">realizada siguiendo modelos egipcios</span><span lang="ES" style="font-family: "arial"; font-size: 9.0pt;"> </span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">que se
conserva en el Museo Metropolitan de Nueva York.</span><span style="font-family: "arial"; font-size: 9.0pt;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Las egipcias más enriquecidas utilizaban joyas con piedras preciosas y
semipreciosas, mientras las menos acomodadas llevaban piezas realizadas con <b style="mso-bidi-font-weight: normal;">pastas vítreas</b> de diferentes colores y <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">faience</i></b>.
En efecto, la denominada “pasta egipcia” o <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">faience</i></b><i style="mso-bidi-font-style: normal;"> –</i>fayenza en español- era una tipología de cerámica vidriada que
imitaba el colorido del lapislázuli y las turquesas. Con esta técnica
realizaron múltiples objetos así como joyas –anillos, collares, amuletos-, vasijas
para perfumes o aceites e incluso ¡vestidos! </span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTM4ZIBpLTGMnvTXVa_DWYgF6n3zfdRnJ33Hw-XanZEr3O8IkJwJLCv-tfIBSbo8gqaVd75pNU4WcO15Jn23FIBiAO8sERkYvCRVqEbVyEM8SLUFXmyXahiPiuOGuMKahvEv0R7QTaA8/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="626" data-original-width="1123" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTM4ZIBpLTGMnvTXVa_DWYgF6n3zfdRnJ33Hw-XanZEr3O8IkJwJLCv-tfIBSbo8gqaVd75pNU4WcO15Jn23FIBiAO8sERkYvCRVqEbVyEM8SLUFXmyXahiPiuOGuMKahvEv0R7QTaA8/s640/1.png" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyfj6V3fwHyWgAh8qoXe8RjbuHS0pw-uZbk1hSm5rh0nJ_b__UKmer_f26jFrk0lqr3YZEFFo4iazQF35-xtu3vlJnJXYd_k4aA0pVbtcQZDU-hX0Gmtn600pxarEZrDqcBZU7ZgASwvY/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="246" data-original-width="505" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyfj6V3fwHyWgAh8qoXe8RjbuHS0pw-uZbk1hSm5rh0nJ_b__UKmer_f26jFrk0lqr3YZEFFo4iazQF35-xtu3vlJnJXYd_k4aA0pVbtcQZDU-hX0Gmtn600pxarEZrDqcBZU7ZgASwvY/s640/1.tiff" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">La impresionante escultura de <i style="mso-bidi-font-style: normal;">Nefertiti</i>,
esposa del faraón Akhenaton, dinastía XVIII, c. 1370 a de C, Imperio Nuevo,
Museo de Berlín. Lleva puesto un collar <i style="mso-bidi-font-style: normal;">usej</i>.
Las egipcias solían llevar pendientes de gran tamaño de influencia asiática
como vemos en esta pintura mural.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">La <b style="mso-bidi-font-weight: normal;">peluca </b>era uno de los
elementos principales de la indumentaria ya que tanto hombres como mujeres
solían afeitarse la cabeza por razones higiénicas. Estas pelucas eran
realizadas con cabello natural y fibra vegetal. Iban <b style="mso-bidi-font-weight: normal;">decoradas</b> con cintas, flores, broches de oro e incluso con
diademas. Durante los banquetes, los invitados llevaban pequeñas cantidades de <b style="mso-bidi-font-weight: normal;">cera</b> de abeja en la parte superior de
sus pelucas con perfumes, cuando se derretían en ellas, con el calor de la
habitación, liberaban sus esencias durante toda la fiesta. </span><o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 9pt;">Mujer egipcia con peluca y tocado perfumado; Detalle
del trono de Tutankamon donde se aprecia a el joven faraón con su esposa. Ambos
no solo llevan pelucas sino también tocados-coronas alusivos a su poder
imperial, c. siglo XIV a de C.,</span><span style="font-family: "arial"; font-size: 9pt;"> </span><span style="font-family: "arial"; font-size: 9pt;">Imperio
Nuevo</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyA04ikYWcI4ej-fsrtDi0sp33AoguXUmui-9k53YQsbfOARyeiSfZaKL9qjbgSIkaUevSPZArrg3Vlg3kksqa4qkY0fEaDhuZPCk7qLE9FKPmAIB7J4YzFLypoSKGP9VZ0K18PKlk-Os/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="587" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyA04ikYWcI4ej-fsrtDi0sp33AoguXUmui-9k53YQsbfOARyeiSfZaKL9qjbgSIkaUevSPZArrg3Vlg3kksqa4qkY0fEaDhuZPCk7qLE9FKPmAIB7J4YzFLypoSKGP9VZ0K18PKlk-Os/s640/1.tiff" width="640" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Rahotep y Nefret.</span></i><span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;"> Estas esculturas realizadas en piedra caliza, están
consideradas como los retratos más antiguos en la Historia del Arte (2600-2500
a de C). El lleva el clásico faldellín egipcio, ella el kalisari. </span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Detalle del
maquillaje, su peluca y su diadema, así como de su<i style="mso-bidi-font-style: normal;"> usej</i> de rica policromía.<o:p></o:p></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Las pelucas no solo servían como adorno sino también para proteger la
cabeza de los rayos del sol. En cierta manera funcionaban como sombrero.</span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">La climatología de Egipto, con su calor sofocante, condicionó casi todos
los aspectos de la vida cotidiana en esta civilización. De ahí que el <b style="mso-bidi-font-weight: normal;">afeitado</b> de todo el cuerpo era algo
habitual: era una manera de hacer frente al calor y a posibles parásitos. De
hecho, se han encontrado restos de navajas y pinzas de depilar. Se cree que se
afeitaban todo el vello corporal. Los textos mágico-médicos muestran recetas
muy variadas para el cuidado capilar, incluso pociones o pócimas destinadas a
privara a alguna “enemiga” de su cabellera.<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Los egipcios concedían mucha importancia a su cuidado personal y a su
vestimenta. Los faraones y su familia contaban con peluqueros y barberos.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">El<b> tocado</b> más común del egipcio es una pieza de tela rayada que se
ajusta sobre la frente y cae en pliegues a ambos lados del rostro: el<b> <i style="mso-bidi-font-style: normal;">klaft</i>.</b><span style="mso-bidi-font-weight: bold;"> E</span>ra la cofia imprescindible de la vestimenta de los faraones. Se
asemeja a la melena de un león. La encontramos también en la esfinge de Gizah. </span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaa8Oxa49tiZE4OVCz52Pz2HkumSJvwHgpSLqTCzWgRRzR2GV7H4PgwhaK3vexxE8QidKf-qAetSIgNrmCDnMdRpslF3DKJuHHZGlTxYmdJigGj1Ekgv1WJxeySof1SowxFdPmD317UE/s1600/2.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="177" data-original-width="453" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaa8Oxa49tiZE4OVCz52Pz2HkumSJvwHgpSLqTCzWgRRzR2GV7H4PgwhaK3vexxE8QidKf-qAetSIgNrmCDnMdRpslF3DKJuHHZGlTxYmdJigGj1Ekgv1WJxeySof1SowxFdPmD317UE/s400/2.tiff" width="400" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Ejemplo de<i style="mso-bidi-font-style: normal;"> klaft</i>; también lo
observamos en la máscara de Tutankamon<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Los <b style="mso-bidi-font-weight: normal;">ungüentos, cremas y perfumes</b>
eran muy solicitados tanta por los hombres como por las mujeres, sin distinción
de clases sociales.<span style="mso-spacerun: yes;"> </span>Los exportaban,
además, a Mesopotamia. Conviene recordar que los egipcios vivían en una zona
casi desértica donde sopla con fuerza el viento. El empleo de <b style="mso-bidi-font-weight: normal;">aceite</b> evitaba irritaciones cutáneas y
todo tipo de dolencias de la piel. También utilizaban <b style="mso-bidi-font-weight: normal;">perfumes</b> gracias al uso de flores, semillas o frutos. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Los <b style="mso-bidi-font-weight: normal;">cosméticos</b> eran muy
utilizados, destacando las pinturas para los <b style="mso-bidi-font-weight: normal;">ojos</b> de colores verde y negro, documentadas hacia el 4.000 a. C. El
<i style="mso-bidi-font-style: normal;">kool </i>y la <i style="mso-bidi-font-style: normal;">henna<b> </b></i>eran la base de los colorantes cosméticos.<span style="mso-spacerun: yes;">
</span></span><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Se han encontrado incluso <b style="mso-bidi-font-weight: normal;">cajitas</b>
para guardar el maquillaje -las pinturas de ojos sobre todo-, generalmente de
piedra o alabastro. La <b style="mso-bidi-font-weight: normal;">línea</b>
alrededor del ojo tenía una función decorativa y protectora ya que la luz del
sol incide de manera diferente con el ojo pintado. Las mujeres de elevada
categoría se pintaban los <b style="mso-bidi-font-weight: normal;">labios</b> y
las mejillas de color ocre rojizo como atestiguan algunas pinturas. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-size: large;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">En numerosos ajuares se han encontrado <b style="mso-bidi-font-weight: normal;">espejos</b>
de bronce muy pulido. Además de objeto de tocador, servían para </span><span lang="ES"><a href="http://www.artehistoria.jcyl.es/historia/contextos/253.htm"><span lang="ES-TRAD" style="font-family: "arial"; text-decoration: none;">los oficios
religiosos</span></a></span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"> y funerarios al ser
comparados con el disco solar.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></span></div>
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maquillaje; recipiente de oro y obsidiana para kohl. Se conserva en el MET de
Nueva York.<o:p></o:p></span></div>
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pulida.<o:p></o:p></span></div>
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SABER MÁS<o:p></o:p></span></b></div>
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<b style="color: #4b4b4b; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: justify;"><span lang="ES-TRAD" style="color: blue; font-family: "arial";"><span style="font-size: large;">Bibliografía</span></span></b></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial";"><span style="font-size: large;">*Boucher, F., <i>Historia del traje en occidente, </i>Barcelona, Barcelona, G. Gili, 2009<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial";"><span style="font-size: large;">*Fernández-Villamil, Concepción.<span class="apple-converted-space"> </span><i>Las artes aplicadas,<span class="apple-converted-space"> </span></i>Tomo 1, Madrid, 1975.<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial";"><span style="font-size: large;">*Galeano Pérez, Andrés, <i>Atlas ilustrado. El peinado, historia y presente, </i>Madrid, Ed. Susaeta<i>, <o:p></o:p></i></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial";"><span style="font-size: large;">*Laver, James,<span class="apple-converted-space"> </span><i>Breve historia del traje y la moda,<span class="apple-converted-space"> </span></i>Madrid, Cátedra, 1988.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<b><span lang="ES-TRAD" style="color: blue; font-family: "arial";"><span style="font-size: large;">Recursos en Red<o:p></o:p></span></span></b></div>
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<span style="font-size: large;"><br /></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: medium;"><a href="http://algargosarte.blogspot.com/search/label/03.0.%20La%20civilizacion%20egipcia." style="color: #3f3980; text-decoration: none;">ALGARGOS. BLOG DE ARTE DEL PROFESOR ALFREDO GARCÍA </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: medium;"><a href="http://historiadeltraje.blogspot.com/2015/10/capitulo-03-indumentaria-antigua-en.html" style="color: #3f3980; text-decoration: none;">HISTORIA DEL TRAJE. BLOG DEL PROFESOR PABLO PENA</a> <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: medium;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: medium;"><a href="http://historiadelamodaylostejidos.blogspot.com/2013/04/moda-en-los-museosla-princesa-sit.html" style="color: #3f3980; text-decoration: none;">HISTORIA DE LA MODA Y LOS TEJIDOS. BLOG DE LA PROFESORA KARIN WACHTENDORFF </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: medium;"><a href="http://arquehistoria.com/moda-en-el-antiguo-egipto-3588" style="color: #3f3980; text-decoration: none;">MODA EN EL ANTIGUO EGIPTO </a></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-52855174853350587422023-10-31T12:51:00.000+01:002023-10-31T12:51:25.228+01:000.3. HISTORIA DE LA INDUMENTARIA EN LA ANTIGÜEDAD (II): EGIPTO. 1ª PARTE<br />
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<span style="font-size: large;"><b><u><span lang="ES-TRAD" style="font-family: "arial";"><span style="color: blue;">1.
Introducción</span></span></u></b><span lang="ES-TRAD" style="color: #3366ff; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;">1.1. Marco Cronológico
y Geográfico<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">La
brillante civilización egipcia perduró durante casi <b style="mso-bidi-font-weight: normal;">3000 años</b> en los que se alternaron periodos de esplendor y otros de
decadencia. Fue una de las civilizaciones más misteriosas y apasionantes de la
Antigüedad. En Egipto se desarrolló una cultura muy avanzada que <b style="mso-bidi-font-weight: normal;">cronológicamente</b> se sitúa entre el año
3170 antes de Cristo hasta el 332 a de C (en el 332 a de C el griego Alejandro
Magno conquistó Egipto). <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Sintetizando
mucho, podemos distinguir varias etapas: <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">*Imperio
Antiguo.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">*Imperio
Medio.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"><span style="font-size: large;">*Imperio Nuevo y otras etapas (periodo tanita,
libio, etc.)</span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Egipto,</span></b><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"><span style="font-size: large;"> como apuntaba
el historiador griego Herodoto, es “el regalo del Nilo”. En efecto, las aguas
de este río riegan el país propiciando los cultivos agrícolas. Egipto fue un
oasis de tierra fértil en medio del desierto que permitió a un gran pueblo
establecerse y vivir en paz durante siglos. El Nilo atraviesa Egipto del sur
(llamado Alto Egipto) al norte (llamado Bajo Egipto). </span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Es
un lugar común considerar que el antiguo Egipto fue una civilización muy <b style="mso-bidi-font-weight: normal;">conservadora</b> que favoreció creencias
ancestrales, siglo tras siglo. La <b style="mso-bidi-font-weight: normal;">religión</b>
egipcia no tiene dogmas y consiste en cumplir ritos. Creían en muchos dioses
(algunos con formas de animales y otros mezcla de seres humanos y animales) y
en la vida en el más allá, por eso practicaban la momificación. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;">sociedad</b> egipcia era esclavista,
jerarquizada, en la que el faraón (una especie de rey) era considerado casi
como un dios viviente. En la cumbre de la sociedad se encontraban también los
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"><span style="font-size: large;">En
cuanto a los <b style="mso-bidi-font-weight: normal;">logras culturales</b> de
Egipto encontramos el desarrollo de la escritura jeroglífica que fue descifrado
a inicios del siglo XIX; también conocieron el uso del yugo y el arado en las
faenas agrícolas y las artes de navegación. Asimismo hicieron notables avances
en medicina, astronomía, matemáticas, artes, etc. </span><o:p></o:p></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgASBvxLEK0EuLC943sUcAkWeCvrZ825MOCBIdhf1l0UsoXxmsh9fPcl6U9LHOA7TfE6pPyvh6hkh5I0GENzsnTdqzGMMky9QZEcMHRlEO8ombXF-d-RhusadASJzVFgUD1OMkpRFaWy5o/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="491" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgASBvxLEK0EuLC943sUcAkWeCvrZ825MOCBIdhf1l0UsoXxmsh9fPcl6U9LHOA7TfE6pPyvh6hkh5I0GENzsnTdqzGMMky9QZEcMHRlEO8ombXF-d-RhusadASJzVFgUD1OMkpRFaWy5o/s640/1.png" width="640" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXJs7HXtm6O7Nlm7iXit7y-Gb5eQR8hm7fuLnxrM5DgbEyeGDmGT6DR9CtCu7EUTkpRsYpuMPRSTD6pri3jS196G_0HKuocMHTpjnJFv6kpGx9DFHkBdd68zKuw4lQM9Of94XrWd1v3g/s1600/2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="578" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXJs7HXtm6O7Nlm7iXit7y-Gb5eQR8hm7fuLnxrM5DgbEyeGDmGT6DR9CtCu7EUTkpRsYpuMPRSTD6pri3jS196G_0HKuocMHTpjnJFv6kpGx9DFHkBdd68zKuw4lQM9Of94XrWd1v3g/s640/2.png" width="640" /></a></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Las
obras de arte egipcias son <b style="mso-bidi-font-weight: normal;">colectivas y
anónimas</b> (desconocemos el nombre de la mayoría de los artistas egipcios).
Buscaban obras de arte que transmitieran grandiosidad, eternidad, optimismo,
sin ningún tipo de crueldad. En ese sentido, es distinto al arte del resto del
Oriente Asiático, siendo más cercano al <b style="mso-bidi-font-weight: normal;">arte
griego</b>.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">El
arte egipcio presenta una unidad de estilo que se mantiene durante siglos, pero
no puede ser considerado como un bloque compacto, pues dentro de su unidad hay
rasgos de una infinita variedad y diversificación según los periodos. <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">La
<b style="mso-bidi-font-weight: normal;">pasión por la cultura del antiguo Egipto</b>
fue una realidad ya desde la Antigüedad, experimentando un gran auge con las
campañas napoleónicas. En el siglo XIX Egipto se convirtió en el paraíso de
arqueólogos y románticos que investigaron, analizaron y también expoliaron
numerosas piezas de esta cultura. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Napoleón en Egipto, </span></i><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Jean-Léon Gérôme, c. 1867<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">La bellísima actriz
Elisabeth Taylor caracterizada como <i style="mso-bidi-font-style: normal;">Cleopatra</i>
(1963)<o:p></o:p></span></div>
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<span style="font-size: large;"><b><span lang="ES-TRAD"><u><span style="color: blue;">2. La Indumentaria en el
Antiguo Egipto</span></u></span></b><span lang="ES-TRAD" style="color: #4b4b4b; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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materiales que nos han llegado de tejidos o indumentos del antiguo Egipto son
escasos y se conservan en museos arqueológicos diseminados entre Egipto,
Estados Unidos y Europa. Las fuentes iconográficas que nos proporcionan las
obras de arte, fundamentalmente escultura y pintura son esenciales por su valor
histórico y testimonial. Son de obligada consulta para los investigadores de la
indumentaria.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Las
actividades diarias de los egipcios nos son bastante bien conocidas a través de
las <b style="mso-bidi-font-weight: normal;">representaciones pictóricas</b> de
sus edificios así como de sus <b style="mso-bidi-font-weight: normal;">relieves.</b>
También hay referencias documentales en la gran cantidad de textos que se
conservan. Gracias a ello, conocemos la antigüedad del cultivo de <b style="mso-bidi-font-weight: normal;">lino </b>en el país, los procedimientos utilizados
por los agricultores para su siembra y recolección y cómo, para obtener tejidos
más resistentes, se cosechaba durante la floración, sin esperar a que la planta
madurara totalmente. Sabemos incluso cómo el labrador preparaba trampas y
capturaba a las aves que amenazan destruir sus cosechas. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIVrYb08wdXzc_sI5VpMPwYiGHxvj_qW70bUtU8EKrf1xlxilfF88vC8peQBspy8RdJeoE_B02iE8EWH3Czvb00bO_OrWboM9a2_KK8cdiZ4Hip_b5bjKL-niTI58Rgved8vGV1GC18eI/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="674" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIVrYb08wdXzc_sI5VpMPwYiGHxvj_qW70bUtU8EKrf1xlxilfF88vC8peQBspy8RdJeoE_B02iE8EWH3Czvb00bO_OrWboM9a2_KK8cdiZ4Hip_b5bjKL-niTI58Rgved8vGV1GC18eI/s640/1.png" width="640" /></a></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Contamos
también con la representación de <b style="mso-bidi-font-weight: normal;">telares</b>
y de <b style="mso-bidi-font-weight: normal;">artesanos trabajando –</b>con gran naturalismo
y espontaneidad<b style="mso-bidi-font-weight: normal;">- </b>en las artes
textiles, no sólo en pinturas y relieves sino también en maquetas de madera,
verdaderos dioramas que se conservan en museos como el Louvre de París, el
Cairo de Egipto o el Museo Británico de Londres. Se cree que todos los grandes
templos contaban con telares y solían ser mujeres las que trabajaban en ellos,
excepto los telares verticales, destinados exclusivamente a los hombres.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">De
todo lo cual se deduce el alto grado de desarrollo y difusión de las artes
textiles en el antiguo Egipto. Se han hallado, además, restos textiles en
diversos <b style="mso-bidi-font-weight: normal;">ajuares funerarios</b> de
faraones o altos dignatarios. En general se han <b style="mso-bidi-font-weight: normal;">conservado </b>en muy buen estado gracias al cálido y seco clima
egipcio que propicia la correcta preservación de las fibras.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">El
<b style="mso-bidi-font-weight: normal;">lino </b>está considerado como la fibra
textil más <b style="mso-bidi-font-weight: normal;">antigua </b>del mundo. Los <b style="mso-bidi-font-weight: normal;">orígenes</b> del cultivo de esta planta
proceden de Asia, circa el año 8000 a de C. A partir de esa zona se difundió
por la India, la China y Egipto –el algodón es mucho más tardío, hacia el siglo
V-. Y de Egipto el lino pasó a Europa.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"><span style="font-size: large;">En
la mitología egipcia la diosa <b style="mso-bidi-font-weight: normal;">Isis</b>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Representación de la diosa Isis, esposa de su hermano Osiris y madre
del dios Horus. Sus símbolos parlantes son: el trono, que lleva como tocado. En
jeroglífico su nombre significa “trono”, clara alusión a que era la
personificación de ello. Porta también el <b style="mso-bidi-font-weight: normal;">ank,</b>
la cruz que es símbolo de vida;<span style="mso-spacerun: yes;"> </span>y el <b style="mso-bidi-font-weight: normal;">nudo tyet</b>, símbolo de protección y
fertilidad. Fue venerada como esposa y madre arquetípica. </span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Fue muy adorada en el antiguo Egipto, donde existían
numerosos santuarios y templos a ella dedicada como el de Philae y su culto se
extendió en Grecia y Roma, particularmente durante la etapa del emperador
Calígula; otra iconografía habitual de esta diosa: Isis amamantando a Horus</span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Con
el <b style="mso-bidi-font-weight: normal;">lino</b> los egipcios confeccionaban
su indumentaria, sus telas y vendas funerarias y también las velas para los
barcos. Además, los granos los utilizaban en su alimentación cotidiana. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Los
egipcios consideraban que el lino <b style="mso-bidi-font-weight: normal;">simbolizaba</b>
la pureza y la higiene. Apreciaban su color blanco brillante y su calidad –casi
indestructible resistente a la intemperie. El lino además es un material muy <b style="mso-bidi-font-weight: normal;">fresco</b> y por tanto, idóneo para el
caluroso clima egipcio.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"><span style="font-size: large;">El
lino fue siempre el material más <b style="mso-bidi-font-weight: normal;">empleado</b>
por los tejedores, como se desprende por los propios restos conservados,
mientras que los demás materiales naturales como <b style="mso-bidi-font-weight: normal;">cáñamo, algodón </b>o<b style="mso-bidi-font-weight: normal;"> lana</b>
–esta última al parecer por motivos religiosos- aparecen de forma menos
frecuente. </span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Planta de la que se extrae el lino; los relieves y las pinturas son un
magnífico testimonio de la indumentaria del Antiguo Egipto<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">Tumba de
Neferrenpet y su esposa Moutemounia</span></i><span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;">, XIX
dinastía, siglo XIII a de C; túnica realizada en lino plisado, c. 2033-1719 a
de C, Museo del Louvre. Los antiguos egipcios para conservar los pliegues de
sus paños y túnicas los trataban con un líquido especial y las dejaban secar al
sol.<o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">El
<b style="mso-bidi-font-weight: normal;">procedimiento </b>de decoración de las
telas consistía en incluir el motivo ornamental en el propio tejido, bordándolo
o pintándolo. Solían ser telas muy coloristas, puesto que la técnica del <b style="mso-bidi-font-weight: normal;">teñido</b> de los hilos estaba muy
avanzada. Utilizaban determinados convencionalismos –habituales por lo demás en
sus pinturas y relieves-. Les interesaban los tonos contrastados y muy vivos.
En ocasiones, aplicaban oro e incluso detalles cerámicos a su indumentaria,
sobre todo en algunas vestiduras del Imperio Nuevo.<o:p></o:p></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 36.0pt; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Las
<b style="mso-bidi-font-weight: normal;">representación de tejidos</b> en el arte
se han encontrado ya a partir de la I dinastía –aunque las técnicas textiles
sobre telares horizontales son más antiguas- a base sobre todo de las vendas de
lino en que eran envueltas las momias. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Del
<b style="mso-bidi-font-weight: normal;">Imperio Medio </b>también se han
conservado ejemplos, pero es sobre todo el <b style="mso-bidi-font-weight: normal;">Imperio
Nuevo</b> el que ha facilitado mejor y mayor cantidad de tejidos: en aquella
época ya se había introducido en Egipto el telar vertical y se alternan en las
vestiduras los adornos tejidos y bordados, tal como demuestran los ejemplares
de trajes reales hallados en la tumba de <b style="mso-bidi-font-weight: normal;">Tutankamon</b> en los que se
incluyen motivos animalísticos, rosetas y palmetas, el <b style="mso-bidi-font-weight: normal;">ank</b> o cruz de la vida y gran<span style="mso-spacerun: yes;">
</span>cantidad de elementos simbólicos, así como la mencionada adición de
diversas materias cosidas sobre las vestiduras. En la tumba aparecieron cientos
de piezas de tela y fragmentos de materiales textiles.
Aparecieron alrededor del cuello de estatuas o también envueltos en rollos.
Howard Carter, el descubridor de la tumba, consideró que el material de esta
tumba sería esencial para el estudio de las artes textiles egipcias.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">En
los siguientes reinados, coincidiendo con la introducción en Egipto de modas y
de artesanos de origen <b style="mso-bidi-font-weight: normal;">asiático</b>, los
tejidos se van haciendo paulatinamente más finos hasta llegar a la
transparencia, siendo ésta la cualidad más apreciada en los trajes amplios y
plisados que llevan las mujeres en muchas de las representaciones plásticas del
momento. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Pieza
clave, considerado el más valioso ejemplo de tejido artístico que nos ha
llegado del antiguo Egipto- es el <b style="mso-bidi-font-weight: normal;">Cinturón
de Ramsés II</b>. En él encontramos motivos decorativos de rica policromía que
se repiten sobre <i style="mso-bidi-font-style: normal;">ad infinitum </i>en los
cinco metros de largo que mide esta pieza.<o:p></o:p></span></div>
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<span style="font-size: large;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;">2.3. La Alta Calidad y Refinamiento de las Artes Textiles Egipcias</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"> </span><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;"><o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Las artes textiles alcanzaron un alto grado de <b>calidad, refinamiento</b> y
desarrollo en el antiguo Egipto. Numerosos tejedores extranjeros se instalaron
en Egipto hasta tal punto que el término “sirio” se convirtió en sinónimo de
“tejedor”. Los ejemplos de artes textiles hallados en la Tumba de Tutankamon
(dinastía XVIII) dan buena cuenta del progreso textil de esta civilización. Al
analizar la indumentaria en el antiguo Egipto constatamos que apenas existió <b>evolución</b> a lo largo de los casi 3000
que pervivió esta civilización. Los egipcios eran muy conservadores en sus
tradiciones y sus cultos ancestrales y en la vestimenta ocurrió exactamente lo
mismo. Utilizan el indumento como medio o instrumento para <b>enfatizar</b> los rasgos del cuerpo, más que para esconderlos. Sus
diseños son muy sencillos y por lo general, no necesitaban ninguna <b>costura.</b> Predominan los trajes <b>drapeados</b> y plisados.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Escultura que representa a la diosa Isis, diorita,
etapa ptolemaica, 330-1 a de C, Museo del Louvre. El vestido, muy ceñido,
muestra drapeados. En el Imperio Medio los vestidos son cada vez más finos,
desvelando la anatomía femenina en detalle. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Como es habitual, la indumentaria era un medio de diferenciación social.
Por ello, a mayor riqueza, mayor complejidad de la vestimenta y más adornos y
joyas aplicadas a la misma. Así, los faraones y sus reinas son los que portaban
los trajes más suntuosos como forma de expresión de su poder y riqueza. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Como sabemos, el material más utilizado fue <b style="mso-bidi-font-weight: normal;">el lino.</b> Los vestidos utilizados con esta fibra natural carecían de
cortes, eran túnicas envolventes cuyo único detalle eran ligeros pliegues.
Habitualmente eran de color blanco. Recordemos que este color estaba revestido
de un cierto halo de <b style="mso-bidi-font-weight: normal;">sacralidad</b>, ya
que era el color del dios Osiris.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><br /></span></div>
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<span style="font-size: large;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;">2.4.
La Indumentaria Femenina</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Las tipologías de vestidos que encontramos en la indumentaria femenina del
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milenios.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Podemos destacar, entre otras variantes, los <b style="mso-bidi-font-weight: normal;">ajustados vestido</b> <b style="mso-bidi-font-weight: normal;">de
tirantes </b>desde el pecho hasta el tobillo –largo talar-, aunque también
aparecen vestidos <b style="mso-bidi-font-weight: normal;">amplios y con mangas</b>.
En el Imperio Nuevo se mantuvo el vestido ajustado, pero más bien como ropa
interior, cubriéndolo con una túnica. Estos vestidos largos y ceñidos
estilizaban la silueta. Presentaban<b style="mso-bidi-font-weight: normal;">
tirantes</b> más o menos anchos. Las egipcias más ricas llevaban tirantes
dorados o con adornos.<span style="mso-spacerun: yes;"> </span>Los tirantes
ocultaban o no, el pecho. Como ha señalado el historiador Pablo Pena, “como el
pudor antiguo revestía un carácter social más que sexual, las mujeres del
pueblo no se ruborizaban al mostrar el pecho desnudo”.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Otra tipología con gran difusión el <b style="mso-bidi-font-weight: normal;">Calasiris
o Kalasiris</b>, una especie de túnica de lino blanco y transparente, con
aberturas para el cuello y los brazos, que se ajustaba con un cinturón</span><b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">.</span></b></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">En la época del Imperio Nuevo se extendió la moda de vestir el lino en <b>diversas piezas</b> que se enrollaban
alrededor del cuerpo, de formas muy variadas, dejando en general bastante
libertad de movimientos: así aparece vestida Nefertiti en un relieve del
Louvre, en el que va de la mano de su esposo Akhenaton. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Para protegerse del viento o del calor, las mujeres solían llevar un <b>chal </b>o echarpe.</span><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">La diosa Hator con el faraón Seti I, relieve
conservado en el Louvre. La diosa va ataviada con un vestido bordado. El rey,
muestra bajo un vestido transparente, su falda plisada y su cinturón; Nefertiti
y su esposo Akhenaton. Ella lleva un vestido plisado, como la falda de él. La
especie de gorguera que llevan ambos son signos distintivos de la indumentaria
egipcia.; Ejemplo de calasiris, ajustado con cinturón.<o:p></o:p></span></div>
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<span style="font-size: x-large;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Las <b>bailarinas</b>,
como las<b> esclavas</b>, iban desnudas.
Como mucho llevaban puesto un cinturón.</span><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;"><o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="color: blue; font-family: "arial"; font-size: x-large; mso-ansi-language: ES-TRAD;">2.5.
La Indumentaria Masculina<o:p></o:p></span></div>
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<span style="font-size: x-large;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Hay ciertos elementos de la indumentaria masculina que son similares a la femenina
como por ejemplo el calzado, las pelucas, las túnicas. Por lo general, los
trabajadores más humildes solían ir descalzos y desnudos o llevaban puesto tan
sólo un ligero paño de lino. En el </span><span lang="ES"><a href="http://www.artehistoria.jcyl.es/historia/contextos/199.htm"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; text-decoration: none;">Imperio Medio</span></b></a></span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"> se generalizó el uso de una falda más larga sobre la corta mientras que en
el </span><span lang="ES"><a href="http://www.artehistoria.jcyl.es/historia/contextos/212.htm"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial"; text-decoration: none;">Nuevo</span></b></a></span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">
aparecieron los pliegues. El torso se cubría con una especie de túnica con
aperturas en los laterales y en la parte superior para sacar los brazos y la
cabeza, existiendo algunas con mangas. <o:p></o:p></span></span></div>
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<span style="font-size: x-large;"><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Sintetizando mucho, los hombres vestían un <b style="mso-bidi-font-weight: normal;">taparrabos</b> o <b style="mso-bidi-font-weight: normal;">pampanilla</b> de
color blanco denominado<b style="mso-bidi-font-weight: normal;"> <i style="mso-bidi-font-style: normal;">shenti</i></b><i style="mso-bidi-font-style: normal;"> </i>que llegaba hasta la rodilla y que iba enrollado a la cintura. No
era una falda sino su estructura era semejante a un pañal. Con algunas
variantes, a lo largo de los siglos fue la base de su indumentaria, tanto para
los grupos sociales más poderosos como el faraón o altos dignatarios como para
sus súbditos. </span><span lang="ES-TRAD" style="font-family: "arial";">Estaba realizado en lino e iba plisado. Con frecuencia lo
combinaban con cinturones de diferentes clases o tamaños.</span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 15pt;"> </span><span style="font-family: "georgia";"> </span><span style="font-family: "arial";">Esta tipología de vestimenta, que en lo esencial perduró durante siglos, la
encontramos también en otros pueblos, todavía hoy, del sudeste asiático como en
la India, Malasia o Camboya.</span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;"> Ejemplos de pampanillas o<i> shentis</i> del antiguo Egipto: del faraón Micerinos y de Anti-Shedu<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYyk48FLKDvzITIdQPHlRpclPpiADaXilCjKZRcv6FsJe2A6v0up_y8XWP4Ihkydrp_q-H6iWtbjSLPFQxUv2zhMbVPs9kDlJqTromGtNZODutEBzbMDDfF-NnTXshupR-Voqu8C0jqA/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="255" data-original-width="569" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYyk48FLKDvzITIdQPHlRpclPpiADaXilCjKZRcv6FsJe2A6v0up_y8XWP4Ihkydrp_q-H6iWtbjSLPFQxUv2zhMbVPs9kDlJqTromGtNZODutEBzbMDDfF-NnTXshupR-Voqu8C0jqA/s640/1.tiff" width="640" /></a></div>
<!--EndFragment--></div>
<div class="" style="clear: both; text-align: center;">
<span style="font-family: "arial"; font-size: 10pt; text-align: justify;">Ejemplo de pampanillas; ejemplos de calasiris.</span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Los <b style="mso-bidi-font-weight: normal;">faraones</b> portaban con
frecuencia un velo de lino enrollado en el cuerpo, una especie de túnica larga
con flecos en el borde que llevaban sobre la pampanilla. Era<span style="mso-spacerun: yes;"> </span>el <b style="mso-bidi-font-weight: normal;">kalasiris.</b><o:p></o:p></span></div>
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<span style="font-size: large;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD;">2.6.
El Calzado</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"> <o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">El <b>calzado</b> es común a hombres y mujeres. Son sandalias de cuero o de
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 10.0pt;"> Sandalias de Tutankamon; Escultura que se encuentra en el Museo de El
Cairo en la que se aprecia una sandalia<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Ejemplos de modelos de sandalias del antiguo Egipto; Sandalias del
Imperio Nuevo, dinastía XVIII, reinado de Tutmosis III, c. Siglo XV a de C,
Museo Metropolitan de Nueva York. Similares ejemplares se han encontrado en la
tumba de Tutankamon.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Sandalias funerarias de oro, imitando las de
piel que llevarían en vida. Presentan dedales de oro para los dedos de manos y
pies. Este ejemplo procede de la tumba de Tutmosis III –dinastía XVIII, c.
siglo XV a de C. Este tipo de objetos eran habituales en los ajuares
funerarios.</span><span lang="ES-TRAD" style="font-family: "arial"; mso-ansi-language: ES-TRAD;"> </span><span lang="ES-TRAD" style="font-family: "arial"; font-size: 9.0pt;">Llevar sandalias era un símbolo de riqueza hasta tal
punto que generalmente las llevaban en la mano y se las ponían únicamente al
llegar a tu destino. En los ajuares funerarios nunca faltan un par de sandalias
o varios.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;">Llevar
sandalias era un símbolo de <b>riqueza</b>
hasta tal punto que generalmente las llevaban en la mano y se las ponían
únicamente al llegar a tu destino. En los ajuares funerarios nunca faltan un
par de sandalias o varios.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="color: blue; font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">FUENTES
DE DOCUMENTACIÓN <o:p></o:p></span></b></div>
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<span style="font-size: large;"><b><span lang="ES-TRAD" style="color: blue; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";">Bibliografía</span></b><span lang="ES-TRAD" style="color: #4b4b4b; font-family: "arial"; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";">*Boucher, F., <i style="mso-bidi-font-style: normal;">Historia
del traje en occidente, </i>Barcelona, Barcelona, G. Gili, 2009<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";">*Fernández-Villamil, Concepción.<span class="apple-converted-space"> </span><i>Las artes aplicadas,<span class="apple-converted-space"> </span></i>Tomo 1, Madrid, 1975.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";">*Galeano Pérez, Andrés, <i style="mso-bidi-font-style: normal;">Atlas ilustrado. El peinado, historia y presente, </i>Madrid, Ed.
Susaeta<i style="mso-bidi-font-style: normal;">, <o:p></o:p></i></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: "Times New Roman";">*Laver, James,<span class="apple-converted-space"> </span><i>Breve
historia del traje y la moda,<span class="apple-converted-space"> </span></i>Madrid,
Cátedra, 1988.<o:p></o:p></span></div>
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en Red<o:p></o:p></span></b></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="http://algargosarte.blogspot.com/search/label/03.0.%20La%20civilizacion%20egipcia.">ALGARGOS. BLOG DE ARTE DEL PROFESOR ALFREDO GARCÍA </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="http://historiadeltraje.blogspot.com/2015/10/capitulo-03-indumentaria-antigua-en.html">HISTORIA DEL TRAJE. BLOG DEL PROFESOR PABLO PENA</a> <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="http://historiadelamodaylostejidos.blogspot.com/2013/04/moda-en-los-museosla-princesa-sit.html">HISTORIA DE LA MODA Y LOS TEJIDOS. BLOG<span style="mso-spacerun: yes;"> </span>DE LA PROFESORA KARIN WACHTENDORFF </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large;"><a href="http://arquehistoria.com/moda-en-el-antiguo-egipto-3588">MODA EN EL ANTIGUO EGIPTO </a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="https://historiadeltraje.com/category/egipto/">HISTORIA DEL TRAJE </a><o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="https://www.ancient-egypt-online.com/ancient-egypt-fashion.html">ANCIENT EGYPT ON LINE </a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="http://world4.eu/ancient-egyptian-costumes/#general-description-of-ancient-egyptian-costumes">ANCIENT EGYPTIAN COSTUMES </a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="http://www.cameline.org/article-la-mode-feminine-en-egypte-antique-63746472.html">LA MODE EN EGYPTE ANTIQUE</a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="https://www.aton-ra.com/egitto/approfondimenti-antico-egitto/approfondimenti-vari/239-tessuti-moda-abiti-antico-egitto.html">TESSUTI E MODA NELL ANTICO EGITTO </a></span></div>
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<span lang="ES-TRAD" style="font-family: "arial"; font-size: large; mso-ansi-language: ES-TRAD;"><a href="http://artpower-ana.blogspot.com/2012/11/actividades-arte-del-antiguo-egipto-y.html">EGIPTOMANÍA </a><o:p></o:p></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-4050974635510355502023-10-30T16:36:00.000+01:002023-10-30T16:36:32.582+01:000.3. HISTORIA DE LA INDUMENTARIA. LA ANTIGÜEDAD: LOS IMPERIOS AGRARIOS (I). MESOPOTAMIA <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56f8FgjgBa8DE3pfPSKVBIa4ONacNBOB3DkjdWySYR7b-vjlS_SdzldTBUcr-QmQYaKFOE27W-X9F_lRBF8EoLtBUiGjpYD0OYoF9MpsFt2xBp4uWNr5q6rsmFAasbqDiSZBygFTLhHY/s1600/ur-1280x640.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="640" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56f8FgjgBa8DE3pfPSKVBIa4ONacNBOB3DkjdWySYR7b-vjlS_SdzldTBUcr-QmQYaKFOE27W-X9F_lRBF8EoLtBUiGjpYD0OYoF9MpsFt2xBp4uWNr5q6rsmFAasbqDiSZBygFTLhHY/s640/ur-1280x640.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Detalle del <i>estandarte de Ur, </i>donde se aprecia la indumentaria mesopotámica: el Kaunakés. Fuente de la imagen: https://fashionhistory.fitnyc.edu/sumerian/</span></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES" style="color: blue;"><u>1. Introducción</u></span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES" style="color: blue;">1.1. Marco cronológico y geográfico</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Denominamos <b>Antigüedad </b>o
época antigua a la etapa posterior a la Prehistoria y anterior a la Edad Media.
Se caracteriza porque en ella aparecen los primeros documentos escritos y
porque se desarrollan brillantes civilizaciones siendo las más destacadas los Imperios Agrarios (Mesopotamia y Egipto) así como el mundo clásico
que comprende las civilizaciones de Grecia y Roma.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4acLnng7WzlUUjr6RfK6Ep460BDpGrfQ3-j_EWmQfvtFO7OryuIYkx0zFwy0ekTO_mW66hevWNIg2ZBTXEk-1nr73nl8Q_g0B94uXBrXOS2rVzsJKoyF3BGa7r_O6E7Vg72B1x036mhE/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="307" data-original-width="380" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4acLnng7WzlUUjr6RfK6Ep460BDpGrfQ3-j_EWmQfvtFO7OryuIYkx0zFwy0ekTO_mW66hevWNIg2ZBTXEk-1nr73nl8Q_g0B94uXBrXOS2rVzsJKoyF3BGa7r_O6E7Vg72B1x036mhE/s400/1.png" width="400" /></span></a></div>
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<span lang="ES"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Denominamos <b>Imperios Agrarios</b>
a las primeras civilizaciones desarrolladas que surgen en torno al Creciente
Fértil (ríos Tigris y Eúfrates) en Mesopotamia y en torno al río Nilo (en
Egipto). Con estas civilizaciones agrarias –fueron las primeras en desarrollar
la agricultura- entra el hombre en la Historia. Aquí surgirían además, las
primeras ciudades.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEeCvKFFZXHSidzRlazrZ2RXr2Hx00FwTOswLFhlKKfQCcF57A0y_qTn-t9oWBK50IA6b2R_3jmGyoAh_fLOEOg2G950du4HDI508cCo859XLXO7IUXy08NIjIdu-SyLoiuZav3yP7BhQ/s1600/2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="521" data-original-width="618" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEeCvKFFZXHSidzRlazrZ2RXr2Hx00FwTOswLFhlKKfQCcF57A0y_qTn-t9oWBK50IA6b2R_3jmGyoAh_fLOEOg2G950du4HDI508cCo859XLXO7IUXy08NIjIdu-SyLoiuZav3yP7BhQ/s640/2.png" width="640" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span lang="ES-TRAD">Mapa de sitios arqueológicos
de Mesopotamia <span style="color: black;">(Oriental Institute, University of Chicago)</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span lang="ES">Mesopotamia</span></b><span lang="ES">
quiere decir país “entre ríos”. Era una llanura muy rica y fértil bañada por
los ríos Tigris y Eúfrates (actual Irán e Irak). Mesopotamia es la cuna de la
civilización. Aquí se desarrolló una civilización antiquísima, que parece ser
incluso más remota que la egipcia, y cuyos comienzos hay que situar en el
cuarto milenio a. de C. En esta cultura florecieron la agricultura, el
comercio, el derecho y las artes. Fue en Mesopotamia donde surgieron los
primeros documentos escritos (c. 3000 a de C), -no olvidemos que la escritura
es una invención sumeria-, los primeros textos legales, las primeras crónicas
militares, los primeros conocimientos científicos e inventos tan importantes como
la rueda. Ya hay referencias sobre esta civilización en la Biblia y en
documentos egipcios, ya que tuvieron un constante contacto con el pueblo
egipcio. Múltiples factores propiciaron que Mesopotamia fuera la cuna de la
civilización (factores humanos, geográficos, climáticos, económicos).</span><!--EndFragment--></span></div>
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<span lang="ES"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"></span></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFXuOo-Pp1MNjtMU3a0BpQkIhRzAUj2zCMs7KZJrj9grMdkCDhV_dcDibZy3ukxOkfRkdvpElWbwvFbQohLaxkjTQ3V2qCN_iTTxIw91MOciR3wYp8tWgeo_Iz5L3l2aqasPqbnQqSzw/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="241" data-original-width="965" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFXuOo-Pp1MNjtMU3a0BpQkIhRzAUj2zCMs7KZJrj9grMdkCDhV_dcDibZy3ukxOkfRkdvpElWbwvFbQohLaxkjTQ3V2qCN_iTTxIw91MOciR3wYp8tWgeo_Iz5L3l2aqasPqbnQqSzw/s640/1.tiff" width="640" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="ES" style="font-size: 9.0pt;"> </span><span lang="ES"><span style="font-size: small;">Escultura que representa a Gudea, rey de Ur;
cilindro sello; el intendente de Mari, c. 2500 a de C</span><span style="font-size: 9pt;"><o:p></o:p></span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="color: blue;">1.2. Un caleidoscopio de
pueblos e imperios</span><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="ES">Mesopotamia</span></b><span lang="ES"> fue un caleidoscopio de pueblos y culturas diferentes, sin unidad
geográfica real y sin capital permanente pero con cierta unidad de estilo, al
menos en el arte (sumerios, acadios, asirios, babilonios, etc.). Los <b>sumerios,
</b>establecidos en el sur de la región, fueron unos de sus pobladores más
antiguos. Vivían en ciudades-estado independientes, controladas por un soberano
que actuaba como representante del dios en la tierra y una poderosa casta
sacerdotal. Posteriormente los <b>acadios</b>, en el sur, y los <b>asirios</b>, en el norte,
organizarán estados militares bajo el poder de un monarca autoritario. Más
tarde, la idea de dominio territorial dará lugar a la formación de otros
imperios poderosos, como el <b>babilónico</b> o el <b>persa</b>, en el actual Irán, con una
organización estatal muy perfeccionada y centralizada. En todas estas culturas,
el arte se pondrá al servicio de las necesidades políticas, actuando como un
medio de propaganda de la imagen de los gobernantes y de su poder.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b style="mso-bidi-font-weight: normal;"><span lang="ES">Cronología</span></b><span lang="ES">: se extiende desde el tercer milenio antes de Cristo hasta c. 500 a C. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES">Mesopotamia desarrolló una civilización
equiparable en importancia a Egipto.<o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">El <b>arte</b> es uno de los grandes capítulos de la historia de Mesopotamia.
Su más importante legado cultural es sobre todo, la escultura (escultura
exenta, relieves…), que podemos encontrar fundamentalmente en museos de Europa
y Estados Unidos.</span><o:p></o:p></span></span></div>
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indumentaria mesopotámica. Fuentes para su estudio<o:p></o:p></span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Las <b style="mso-bidi-font-weight: normal;">artes textiles</b> alcanzaron un
gran desarrollo desde las épocas más remotas de Mesopotamia. Se convirtieron en
una importante <b style="mso-bidi-font-weight: normal;">mercancía comercial</b> y
fueron objeto de <b style="mso-bidi-font-weight: normal;">regalo </b>para<b style="mso-bidi-font-weight: normal;"> </b>reyes y reinas. La indumentaria
mesopotámica es <b style="mso-bidi-font-weight: normal;">sorprendente</b> por sus
diseños, materiales y adornos. Las evidencias sobre su indumentaria las
encontramos en <b style="mso-bidi-font-weight: normal;">esculturas, relieves,
mosaicos</b> y <b style="mso-bidi-font-weight: normal;">cerámica,</b> incluso en
las tablillas de arcilla y las tumbas reales. <o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="color: blue;">2.2. Uttu, la
diosa de las artes textiles y el vestido</span><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Los mesopotámicos eran politeístas. Sabemos que en los sumerios creían en una diosa del arte de
tejer y del vestido denominada Uttu.<b style="mso-bidi-font-weight: normal;"> Uttu</b>
en sumerio significa “tejido” y se la solía representar como una araña en su
red. </span><span lang="ES-TRAD">En
ocasiones es confundida con Utu, el dios masculino del sol.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiINY8-0MCkhBBv5LIaj-q3GbS8ODJlsGaqV0lnKb1YuD-jL000EBUWvsVWYfGowoOb56naFIW0qeMP0TmFOYUdm2iQJdaf4TmB___BJnLsUy3t0FmK5aWYJJ8kPyER6c0OW_womYPLuz8/s1600/1-Uttu-goddess-of-weaving-relief-of-spinner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="168" data-original-width="220" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiINY8-0MCkhBBv5LIaj-q3GbS8ODJlsGaqV0lnKb1YuD-jL000EBUWvsVWYfGowoOb56naFIW0qeMP0TmFOYUdm2iQJdaf4TmB___BJnLsUy3t0FmK5aWYJJ8kPyER6c0OW_womYPLuz8/s400/1-Uttu-goddess-of-weaving-relief-of-spinner.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-lWWOFsPvWiYYr4PiNrZ9nRTMA4csCnspyehu-PNrljyXrnHso0BwjwWgfHWaJWVLqoFP4_mD1PTJULELNBg-PMZW2-YSPci5lWper8k1Jt7SnQWo-ERzpkuacjLbMqzH5j2En9Ocph0/s1600/1a-giant-alien-goddess-Uttu-Goddess-of-Weaving-with-a-student-helper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="540" data-original-width="416" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-lWWOFsPvWiYYr4PiNrZ9nRTMA4csCnspyehu-PNrljyXrnHso0BwjwWgfHWaJWVLqoFP4_mD1PTJULELNBg-PMZW2-YSPci5lWper8k1Jt7SnQWo-ERzpkuacjLbMqzH5j2En9Ocph0/s320/1a-giant-alien-goddess-Uttu-Goddess-of-Weaving-with-a-student-helper.jpg" width="246" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Relieves que representan a la diosa sumeria del arte de tejer llamada Uttu. Fuente de las imágenes: mesopotamiangods.com</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXu6bVZXceCRr85gI8Ibrft2ZIzs7MSdx4B-zJ41DF3qZbZywUrVOLhDcXOh5k20KmUJCAm34EYiqLN_D3RjRrHDREA8Ga53xAGnYh8nSHyQylVs7Ip55aQg6wsec7MmUIymDnhvZ8SNg/s1600/2a-Nannar-statue-2000-B.C.-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="673" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXu6bVZXceCRr85gI8Ibrft2ZIzs7MSdx4B-zJ41DF3qZbZywUrVOLhDcXOh5k20KmUJCAm34EYiqLN_D3RjRrHDREA8Ga53xAGnYh8nSHyQylVs7Ip55aQg6wsec7MmUIymDnhvZ8SNg/s1600/2a-Nannar-statue-2000-B.C.-1.png" /></span></a></div>
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<span lang="ES"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">El dios sumerio Nannar o Nanna, c. 2000 antes de Cristo. Aparece impresionantemente vestido, con cuidados cabellos y barba, con tocado y alhajado. Fuente de la imagen: mesopotamiamgods.com</span></span></div>
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<span lang="ES"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPUWq-dzB_YHyrBtbTIUFRulgkV1QAWVWHnIKDnuPb8mmnrxMvK6Z4E0XK4ZxnOJw-LZW5VruXtbf7Apr_RnF_n8mY_fhaseK8bOdZsHRJOeJt7yRrhPD259O92qPAT1kXK_0H3dTr44/s1600/2.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><img border="0" data-original-height="188" data-original-width="511" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPUWq-dzB_YHyrBtbTIUFRulgkV1QAWVWHnIKDnuPb8mmnrxMvK6Z4E0XK4ZxnOJw-LZW5VruXtbf7Apr_RnF_n8mY_fhaseK8bOdZsHRJOeJt7yRrhPD259O92qPAT1kXK_0H3dTr44/s640/2.tiff" width="640" /></span></a></div>
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<span lang="ES"><span style="font-size: medium;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diversos dioses sumerios</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">En cuanto a los <b style="mso-bidi-font-weight: normal;">materiales,</b> en
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animales y con el tiempo aprendieron a tejer sus propias telas. Los primeros <b style="mso-bidi-font-weight: normal;">telares e</b>n Mesopotamia están fechados
circa el año 3000 a de C. La perfección y finura con la que realizaban estas
piezas es sorprendente, como se puede comprobar en los fragmentos de lino que
aparecieron en las tumbas reales. El <b style="mso-bidi-font-weight: normal;">lino</b>
era un material muy lujoso y sólo lo llevaban las personas más enriquecidas de
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esculturas de los <b style="mso-bidi-font-weight: normal;">dioses</b>. Así las
cosas, el material más usual en su indumentaria era la <b style="mso-bidi-font-weight: normal;">lana</b>, que se utilizaba para prácticamente cualquier tipo de
vestimenta, desde abrigos hasta zapatos.<span style="mso-spacerun: yes;">
</span>El <b style="mso-bidi-font-weight: normal;">algodón</b> no se introdujo en
Asiria hasta aproximadamente el año 700 a de C y la <b style="mso-bidi-font-weight: normal;">seda</b> se cree que fue introducida en occidente por los persas, fruto
de sus relaciones con comerciantes chinos como luego veremos.</span><span lang="ES-TRAD"><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqjwQ4pQ2exdaa9_1awSd5flJUwJDXRZu75qB1d4A5boFeo85IdGxXl7WpgfBKQStIbTRj6zsnI5OeFNnaB43QFz0uODCZOQFRrCDj4Ucafrgj3coum_w5X5d7xXwykvEXKysNSM503c/s1600/3.png" imageanchor="1" style="font-size: x-large; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="347" data-original-width="827" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqjwQ4pQ2exdaa9_1awSd5flJUwJDXRZu75qB1d4A5boFeo85IdGxXl7WpgfBKQStIbTRj6zsnI5OeFNnaB43QFz0uODCZOQFRrCDj4Ucafrgj3coum_w5X5d7xXwykvEXKysNSM503c/s640/3.png" width="640" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="text-align: justify;"><br /></span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="text-align: justify;">E</span><span style="text-align: justify;">jemplos que
muestran la indumentaria sumeria, acadia y persa. En Sumeria eran habituales los
hombres con el pelo afeitado; cabeza acadia con turbante realizada en alabastro;
tocado persa.</span></span></span></div>
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<b><span lang="ES-TRAD" style="color: blue; mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="color: blue;">2.3. Indumentos sumerios (</span><span lang="ES-TRAD" style="color: blue; mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">3000–2000 a de C.)</span><span lang="ES-TRAD" style="color: blue; mso-ansi-language: ES-TRAD;"> y acadios </span><span lang="ES-TRAD" style="color: blue;">(2350–2218 a de C.). La silueta "cilindro-sello"</span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Para <b style="mso-bidi-font-weight: normal;">sumerios y acadios</b> la prenda esencial
era el <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">kaunakés</i></b>, una falda larga realizada con <b style="mso-bidi-font-weight: normal;">pieles</b> de cabra u oveja. La denominación de <i style="mso-bidi-font-style: normal;">kaunakés</i> fue dada por los griegos. El kaunakés era el traje
característico del pueblo sumerio, más habitual en hombres que en mujeres. Hacia
el 2500 a de C. las faldas realizadas con piel de oveja fueron sustituidas por
paños de lana.</span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"> Ejemplos de kaunakés</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Los
hombres también podían llevar una túnica con uno de los hombros al descubierto como
observamos en las representaciones del <i style="mso-bidi-font-style: normal;"><span style="color: black; mso-themecolor: text1;">ensi o patesi </span></i><b style="mso-bidi-font-weight: normal;">Gudea</b>. Los <i>patesi</i> e</span><span lang="ES" style="mso-fareast-language: ES;">ran una especie de rey-sacerdote de la ciudad
de Lagash y existen varias representaciones sobre su figura, hoy repartidas en
varios museos (Louvre, etc.)</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;">Curiosamente, en las esculturas sumerias los cuerpos parecen
cilindros sellos envueltos en mantos y túnicas.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small; text-align: justify; text-indent: 35.4pt;">Esculturas que representan al rey Gudea de
Lagash portando una túnica con el hombro al descubierto, c. 2144 a de C</span></span></div>
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<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">El
hieratismo y la frontalidad así como la geometrización son rasgos que comparten
la estatuaria egipcia y la mesopotámica</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Las
mujeres llevan una <b>túnica</b></span><span style="font-size: large;"> de mangas
cortas, cubiertas por encima con un chal. Este tipo de chal lo veremos en los </span><b>saris</b><span style="font-size: large;"> indios, incluso en nuestros días.
También pueden llevar puesto una especie de abrigo similar al <i><b>kaunakés</b></i></span><i>.</i></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">2.3.1. Las joyas. Un auténtico tesoro: el real de Ur</span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Los
sumerios fueron una civilización refinada por lo que se refiere a las <b style="mso-bidi-font-weight: normal;">joyas y adornos</b>. Despuntaron en todas
las artes suntuarias, especialmente en la joyería y las artes del metal. La
perfección en el trabajo del oro y lapislázuli es espectacular. Utilizaban como
adhesivo el betún, un derivado del petróleo. Para conocer los adornos de joyas
de esta etapa el mejor ejemplo lo conforma el <b style="mso-bidi-font-weight: normal;">Tesoro Real de Ur, </b>c. 2500 a de C.</span><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkF83b_OJYeOl1Q-IZ2xBojPeqYxFn7JrrVWgjxDLtQIrRrQezVQvowcwr_k0HTP4Nl_mq-76UJ5axYEkSbhW6TtPRmJRxUZJvcRHdPN-PCdsvaFEU5GSmOgdTHX-NFsRd3czkjSM5Ldg/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="269" data-original-width="550" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkF83b_OJYeOl1Q-IZ2xBojPeqYxFn7JrrVWgjxDLtQIrRrQezVQvowcwr_k0HTP4Nl_mq-76UJ5axYEkSbhW6TtPRmJRxUZJvcRHdPN-PCdsvaFEU5GSmOgdTHX-NFsRd3czkjSM5Ldg/s640/1.tiff" width="640" /></span></a></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"> </span><span style="font-size: small;">El Tesoro Real de Ur</span></span></span></div>
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sumerios. No hablaban la misma lengua. Sin embargo, adoptaron enteramente el
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">Los vestidos de <b style="mso-bidi-font-weight: normal;">babilonios y asirios</b>, partiendo de los
estilos sumerios y acadios, evolucionaron hacia diseños más <b style="mso-bidi-font-weight: normal;">sofisticados</b>. Así lo comprobamos
estudiando los grandes <b style="mso-bidi-font-weight: normal;">relieves
escultóricos</b> de esa etapa. Había dos indumentos esenciales: <b style="mso-bidi-font-weight: normal;">la túnica y los chales</b>. Las túnicas,
realizadas en lana y de brillantes colores, podían llegar hasta las rodillas o
los tobillos. Sobre ellas colocaban chales de rico colorido –púrpura, azul o
blanco- con flecos de diferentes proporciones y tamaños. Los motivos
decorativos eran básicamente geométricos. Eran frecuentes los bordados. También
portaban <b style="mso-bidi-font-weight: normal;">cinturones</b>. Las mujeres
llevaban una falda corta como ropa interior y los hombres, taparrabos. Los <b style="mso-bidi-font-weight: normal;">zapatos </b>solían ser sandalias o botas.</span><span lang="ES-TRAD"> </span></span><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">Las sandalias iban atadas al tobillo y con una anilla para sujetar el dedo
gordo.</span><span style="color: #262626;"><span style="font-size: large;"> El cuidado del <b style="mso-bidi-font-weight: normal;">cabello</b> era muy importante para los asirios y babilonios. Lo trataban
con perfumes, aceites y e incluso tintes (de color negro). Los hombres lucían
largas y geometrizadas cabelleras, con bellos bucles. Se cree que incluso usaban
extensiones o postizos.</span><o:p></o:p></span></span></span></div>
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<!--StartFragment--><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 9pt;"> </span><span style="font-size: small;"> <span lang="ES-TRAD">Relieves asirios con las túnicas características de esta
civilización. Se aprecian brazaletes y pulseras</span><!--EndFragment-->
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turbantes, tiaras cilíndricas… Como vemos en las representaciones escultóricas,
a los <b style="mso-bidi-font-weight: normal;">asirios</b> les apasionaban las <b style="mso-bidi-font-weight: normal;">joyas</b> en el cuello, en la cabeza y en
las muñecas, una prueba más de su afición por el lujo y la ostentación como
formas de diferenciación social. Este hecho no impide que fuera un pueblo
sumamente belicoso, como también nos refleja su arte.</span><span lang="ES-TRAD"> <span style="color: #262626;"><o:p></o:p></span></span></span></div>
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escrita en hacia el 1200 a. de C. aunque posiblemente sea mucho más
antigua. Andando el tiempo, será una de las características de la
vestimenta islámica femenina.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-size: large;">En el arte asirio-babilónico son escasas las representaciones femeninas por
lo que desconocemos en gran parte cómo era la <b style="mso-bidi-font-weight: normal;">indumentaria de las mujeres</b>. En alguna ocasión aparece la reina con
una vestimenta muy parecida a la del hombre. </span></span><span lang="ES-TRAD" style="color: #262626; font-size: 9.0pt;"><o:p></o:p></span></span></div>
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a de C)<i style="font-weight: bold;"><o:p></o:p></i></span></span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-fareast-language: ES;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Los
habitantes de la Meseta de la actual <b style="mso-bidi-font-weight: normal;">Irán</b>
fueron el origen de los grandes imperios de la Antigüedad con la dinastía
Aqueménida. Este imperio, enemigo acérrimo de los griegos, aglutinó a diversas
civilizaciones milenarias en su territorio: mesopotámicos, sirios, egipcios,
algunas regiones de la India y en algún momento, parte de Grecia. Este estado
gigantesco estaba regido por poderosos <b style="mso-bidi-font-weight: normal;">reyes</b>
como Ciro el Grande o Darío y sobrevivió hasta el siglo IV a de C, momento en
que su poder fue derrotado por el gran <b style="mso-bidi-font-weight: normal;">Alejandro
Magno</b>.</span><o:p></o:p></span></span></div>
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Magno y de Darío III. Museo Arqueológico de Nápoles</span><span style="font-size: 9pt;"><o:p></o:p></span></span></span></div>
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grandes <b style="mso-bidi-font-weight: normal;">palacios </b>como Susa,
Pasargadas o Persépolis. Esta civilización concedió un gran desarrollo a las
artes suntuarias de ricos materiales y policromía.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;">persa</b> nos interesan por las
innovaciones tipológicas que aportan y que harán fortuna: <b style="mso-bidi-font-weight: normal;">túnicas de manga larga</b>, con una considerable labor de costura, y un
gran invento, los <b style="mso-bidi-font-weight: normal;">pantalones,</b>
posiblemente creados por razones hípicas como ha señalado el historiador Pablo
Pena. También portaban una <b style="mso-bidi-font-weight: normal;">túnica
abierta por delante</b>, llamada <i style="mso-bidi-font-style: normal;">kandys </i>o
<b style="mso-bidi-font-weight: normal;">caftán,</b> que será más adelante prenda
esencial para los mogoles y turcomanos.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif;">Se cree que gracias a los persas los occidentales
conocieron la <b>seda</b> dadas sus
transacciones comerciales con China, particularmente durante las dinastías Qin
y Han (ambas del siglo III a de C).</span></span><!--EndFragment--></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rQZR488t4EDUz6q7B4LbmOrSdp5eF9XQ2n3HXr3GhDlQWwt5mOeCT6dV8N9XY7DDMqqateY0_8URsRK4z0hlb3GwtrzujWK5_Opyadj_8iUXLzBp0XYXZQddmocmt4Rz0-eFRQNqz-0/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="1012" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4rQZR488t4EDUz6q7B4LbmOrSdp5eF9XQ2n3HXr3GhDlQWwt5mOeCT6dV8N9XY7DDMqqateY0_8URsRK4z0hlb3GwtrzujWK5_Opyadj_8iUXLzBp0XYXZQddmocmt4Rz0-eFRQNqz-0/s640/1.tiff" width="640" /></a></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: 9px;"> </span><span style="font-size: small;"> Relieves procedente del palacio de Persépolis (Persia Aqueménida) y friso de los Inmortales, Palacio de Susa</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="ES-TRAD" style="color: black; mso-ansi-language: ES-TRAD; mso-bidi-font-weight: bold; mso-fareast-language: ES; mso-themecolor: text1;">Finalmente
hay que señalar que la combinación entre el chal mesopotámico y la túnica de
lino egipcia están en la base del traje <b>sirio-fenicio</b> de la etapa de la
Antigüedad. A este respecto, es interesante destacar que los fenicios –en la
actualidad el Líbano- produjeron en la ciudad de Tiro, <b>púrpura,</b> un
colorante que se obtenía de un molusco y que daba un color rojo oscuro-azulado,
símbolo de riqueza, dignidad y ostentación durante siglos. Fue el símbolo por
antonomasia de riqueza, mucho más que el oro.</span><span lang="ES-TRAD"> </span><span lang="ES-TRAD">Conseguir este colorante
natural era un proceso costosísimo. </span><span lang="ES">El secreto de la púrpura se perdió con la caída del
Imperio bizantino (1453) pero fue descubierto gracias a las investigaciones que
efectuó el zoólogo Lacace-Duthiers en las Islas Baleares (siglo XX).</span></span></div>
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<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>FUENTE DE DOCUMENTACIÓN</b></span></span></div>
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<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">*Fernández-Villamil, Concepción. <i>Las artes aplicadas, </i>Tomo 1, Madrid, 1975.</span></div>
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<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">*Laver, James, <i>Breve historia del traje y la moda, </i>Madrid, Cátedra, 1988.</span></div>
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<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span></span></div>
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<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>PARA SABER MÁS</b></span></span><br />
<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span></span>
<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="http://historiadeltraje.blogspot.com/search/label/04.%20Mesopotamia%20y%20Persia">*Blog del profesor Pablo Pena</a></span></span></div>
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<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></span></div>
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<span lang="ES"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">* <a href="https://fashionhistory.fitnyc.edu/sumerian/">Fashion history</a></span></span></div>
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<span lang="ES" style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span>
<span lang="ES" style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">*<a href="http://fashionthroughtheages-heatherbrooke.blogspot.com/2011/09/mesopotamia.html"> Fashion through the Ages</a></span></div>
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<span lang="ES" style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">*<a href="http://www.palmbeach.k12.fl.us/eagleslandingms/MesopotamiaClothing.pdf"> Mesopotamian clothing</a></span></div>
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<span lang="ES" style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></div>
<!--EndFragment--><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">*<a href="http://artpower-ana.blogspot.com/2012/10/el-tesoro-real-de-ur.html">El Tesoro Real de Ur</a></span><br />
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-58215028664824955432023-10-20T08:55:00.000+02:002023-10-20T08:55:07.123+02:00LA INDUMENTARIA EN LA PREHISTORIA: ÖTZI, EL HOMBRE DEL HIELO <div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FFEFeVwafKkDc3Xv5_8vTpNqm6tMmUJ-DQgQQGxj6b5NsdcQ559Ekw56dtNTALQUU2167c9tWLJNlLGhJx6AQ__EOaOb4NaRIHHlcEyLus7DZUdCqmMElFtt66T-NHjQiLST1939zDDi/s1600/IMG_0558.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8FFEFeVwafKkDc3Xv5_8vTpNqm6tMmUJ-DQgQQGxj6b5NsdcQ559Ekw56dtNTALQUU2167c9tWLJNlLGhJx6AQ__EOaOb4NaRIHHlcEyLus7DZUdCqmMElFtt66T-NHjQiLST1939zDDi/s640/IMG_0558.JPG" width="480" /></a></div>
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<span style="font-size: x-large;">¡Saludos!</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;">En la bella ciudad de Bolzano -Bolzen en alemán- enclavada en el Tirol italiano, a los pies de los Dolomitas, se alza el Museo Arqueológico del Alto-Adige. </span></div>
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<span style="font-size: x-large;">A los atractivos indudables de esta región de extraordinaria belleza paisajística y artística, se une la conservación de una de los descubrimientos arqueológicos más importantes del mundo: la momia Ötzi, el hombre que vino del hielo. Ha sido comparado en importancia al Lindow Man de Londres, al Tollund Man de Dinamarca o a Juanita de Perú.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZzUGpUut21_xu9GJmuPaSWoO2MiMIAwJNvU9NmLHvVfOTuguBlPL-pVAr9TmFhlOUNQhQAQQq_uC2lBATUpU8Bh1Uc3VKpS2Cv0T4dQe6_Cc_SkL3jxpzqprih_PwYiONQ8-2du9qfoiL/s1600/juanita.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZzUGpUut21_xu9GJmuPaSWoO2MiMIAwJNvU9NmLHvVfOTuguBlPL-pVAr9TmFhlOUNQhQAQQq_uC2lBATUpU8Bh1Uc3VKpS2Cv0T4dQe6_Cc_SkL3jxpzqprih_PwYiONQ8-2du9qfoiL/s640/juanita.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Momia Juanita, Perú. Fue sacrificada durante un ritual inca cuando tenía 13 años. Fuente de la imagen: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">http://trome.pe/actualidad/peru-se-realizaran-mas-investigaciones-sobre-momia-juanita-2008450</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI03aXa2rXZTHfzQO3aJNKQLIkfqB9Gskp8iE27nn195x6qAMw3iamlndXVbBH9u6oW03s3QudyV3Wm_YqygDEM7cljsOkF5VuN506rQulXIdexvlZhoLI5ezatI2G_jtH3ptZdXLseLJB/s1600/Tirolo-Su%25CC%2588dtirol-Trentino.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI03aXa2rXZTHfzQO3aJNKQLIkfqB9Gskp8iE27nn195x6qAMw3iamlndXVbBH9u6oW03s3QudyV3Wm_YqygDEM7cljsOkF5VuN506rQulXIdexvlZhoLI5ezatI2G_jtH3ptZdXLseLJB/s640/Tirolo-Su%25CC%2588dtirol-Trentino.png" width="614" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br />Fuente de la imagen: Wikipedia, public domain.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIiempqovhvMHivcG0N4YymgstNY6BagOlve2Elh0s7fytIA5SOTHxJDCnoSTsSRsMdpip4Jlv8ylOSNKmJlgFlk83dU-U7DI8bEsvkHg-xwyZ8vOjtuGXfpaMZ7zepU6AnNkX0HF2ynH/s1600/Euroregion_Tirol_-_South_Tirol_-_Trentino_map.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikIiempqovhvMHivcG0N4YymgstNY6BagOlve2Elh0s7fytIA5SOTHxJDCnoSTsSRsMdpip4Jlv8ylOSNKmJlgFlk83dU-U7DI8bEsvkHg-xwyZ8vOjtuGXfpaMZ7zepU6AnNkX0HF2ynH/s640/Euroregion_Tirol_-_South_Tirol_-_Trentino_map.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen: Wikipedia, public domain</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_E5mzDakIgX9KU2AcOPC3je9INGotM08D0NCKUlf0El8j6JnpjsKJjqk_Tb7xU8A4JoGa_-rc93RpCfHCH2IhnOl3QzrMn-ZmsSnwoWXTATnNfbMlFK2bPaFCu5WWc3SOHugRgCUxCN2V/s1600/blumenmarkt-in-bozen_1506.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_E5mzDakIgX9KU2AcOPC3je9INGotM08D0NCKUlf0El8j6JnpjsKJjqk_Tb7xU8A4JoGa_-rc93RpCfHCH2IhnOl3QzrMn-ZmsSnwoWXTATnNfbMlFK2bPaFCu5WWc3SOHugRgCUxCN2V/s640/blumenmarkt-in-bozen_1506.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen: http://www.alto-adige.com/evento/406/festa-dei-fiori-a-bolzano</span></span></td></tr>
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<span style="font-size: x-large;">Este museo está dedicado íntegramente a él, así como a exposiciones temporales y a referencias arqueológicos de la zona del Alto-Adige y de los Alpes.</span></div>
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<span style="font-size: x-large;"><br /></span></div>
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<span style="font-size: x-large;"><b>Un descubrimiento excepcional</b></span></div>
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<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;">Ötzi es el nombre con el que los arqueólogos denominaron a los restos humanos de una momia congelada en los Alpes. Es una de las momias más antiguas del mundo. Se denomina así porque su descubrimiento fue cercano al valle de Ötz.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga-C6wV-X2wreLA9u1gWK9FL4uwb_firjInu9ot3qTPMudfImJOhg5JH6jeI-5OK7ncjeblh0DGE6vZldUq1akcmxTB5jiLYRvwuVo9KJblhrUwQ9BoPT257g61Gy6KNQ8_9cNtDORKDeq/s1600/museo-archelogico.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga-C6wV-X2wreLA9u1gWK9FL4uwb_firjInu9ot3qTPMudfImJOhg5JH6jeI-5OK7ncjeblh0DGE6vZldUq1akcmxTB5jiLYRvwuVo9KJblhrUwQ9BoPT257g61Gy6KNQ8_9cNtDORKDeq/s640/museo-archelogico.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen: http://www.bolzano-vigneti-dolomiti.com/musei/museo-archelogico-alto-adige.asp</span></td></tr>
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<span style="font-size: x-large;">Lo que hace único a Ötzi es el hecho de que se trata de un hombre prehistórico cuya vida tuvo un abrupto final, dejándole a él y a gran parte de su indumentaria y posesiones casi intactas, conservadas entre los hielos de un glaciar. Recordemos que los hallazgos de vestimenta en yacimientos arqueológicos suelen ser bastante infrecuentes.</span><br />
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<span style="font-size: x-large;"><b>Un hombre de la Edad del Cobre</b></span></div>
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<span style="font-size: x-large;">Por primera vez en la historia de la medicina y la arqueología, ha sido posible realizar estudios anatómicos de un hombre del cuarto milenio antes de Cristo. Al mismo tiempo, ha propiciado el conocimiento de la indumentaria y la forma de vida de un ser humano situado entre el Neolítico y la Edad de los Metales (Cobre). La información obtenida, después de años de estudio con los métodos de investigación más modernos, nos permite averiguar cómo pudo ser la vida diaria del hombre prehistórico en su contexto y su extraordinaria habilidad para sobrevivir con sus limitados recursos.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTxffxsR7cOseZUaloFoCg_AqWNiQcI4ZJf7wguDzDK4bepDFFAetiho_Gb8HhBcLstVt2LchxdFfsOjZChuVVzQAilzHAcZAU1seCURFofiqroODkvyfnfVKRltBCjzhhHVJvjSJvmtJ/s1600/otzi_map.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTxffxsR7cOseZUaloFoCg_AqWNiQcI4ZJf7wguDzDK4bepDFFAetiho_Gb8HhBcLstVt2LchxdFfsOjZChuVVzQAilzHAcZAU1seCURFofiqroODkvyfnfVKRltBCjzhhHVJvjSJvmtJ/s640/otzi_map.jpg" width="622" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen:http://www.age-of-the-sage.org/archaeology/otzi_the_iceman_map.html</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCr2UDuDajENRPHs-pPfeIomMlk6VCneCUHxYH1dwi_OHK1oHvyGB3ZrPw0zMIFurm9OiYeNTOxdrHs_GO84zc2VWCQ79nFWyGAH5x4CfK9OlWyDarexVwS1qml_JU5WcFj5qGnljASEm/s1600/a.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCr2UDuDajENRPHs-pPfeIomMlk6VCneCUHxYH1dwi_OHK1oHvyGB3ZrPw0zMIFurm9OiYeNTOxdrHs_GO84zc2VWCQ79nFWyGAH5x4CfK9OlWyDarexVwS1qml_JU5WcFj5qGnljASEm/s640/a.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">En este enclave fue encontrado Ötzi. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen:http://www.age-of-the-sage.org/archaeology/otzi_the_iceman_map.html</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUC809QA4VOwI1BlfQ2fyW3x66HOlqv_dT0yWtF_IWuKJc2Tcbvc3vc9UB-tnI1uwjwJ93aCnNm-Ob1qjnhbl-lSWmC388mrbaV3pA1VG0Is5iM1n2nDkv0vJd05ng5lM2TAg8ArcNUvR/s1600/1.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUC809QA4VOwI1BlfQ2fyW3x66HOlqv_dT0yWtF_IWuKJc2Tcbvc3vc9UB-tnI1uwjwJ93aCnNm-Ob1qjnhbl-lSWmC388mrbaV3pA1VG0Is5iM1n2nDkv0vJd05ng5lM2TAg8ArcNUvR/s640/1.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Así apareció Ötzi. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen:http://www.age-of-the-sage.org/archaeology/otzi_the_iceman_map.html</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>El descubrimiento de Ötzi</b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">El 19 de septiembre de 1991 en un glaciar de los Alpes de la zona de Alto-Adige, entre Italia y Austria, en concreto en Tisenjoch, dos excursionistas alemanes, Erika y Helmut Simon se encontraron los restos de un cuerpo humano congelado. El hombre estaba boca abajo. Junto a él, diseminadas, se encontraban su ropa y pertenencias.</span><span style="font-size: x-large;"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La historia de la sensación arqueológica del siglo XX no había hecho más que empezar. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">El "levantamiento" del cuerpo para ulteriores investigaciones fue complejísimo. Arqueólogos, prehistoriadores, científicos y médicos forenses iniciaron las investigaciones para desentrañar el misterio de esta momia. Tras minuciosos estudios llegaron a la conclusión de que la datación de Ötzi era de los inicios de la Edad del Cobre, entre 4000 y 5000 años </span><span style="font-size: x-large;">de antigüedad. Hasta ese momento, nunca se habían encontrado restos humanos tan antiguos con una indumentaria bastante completa y con varias pertenencias personales.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La autenticidad de la momia y sus posesiones fueron certificadas mediante los análisis realizados con el método del Carbono 14: el "hombre de hielo" vivió entre el año 3350-3100 antes de Cristo.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichC9U87KlbdlWlt9GKNAB5MjTAiE2wikvzb9SjjqKrNgXovWw1dbPHA0C8WBP5hvL1tKw9yBnpydJEH12H-mSuYsYF-toaRfqEuT055C-il9C_SeZk25Dk_6RPsBQla51h1D-xs2LBXmU/s1600/otz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichC9U87KlbdlWlt9GKNAB5MjTAiE2wikvzb9SjjqKrNgXovWw1dbPHA0C8WBP5hvL1tKw9yBnpydJEH12H-mSuYsYF-toaRfqEuT055C-il9C_SeZk25Dk_6RPsBQla51h1D-xs2LBXmU/s640/otz.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"> Fuente de la imagen: </span><span style="font-size: small;">http://news.discovery.com/history/archaeology/iceman-discovery-110919.htm</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCyHqMXVBMOIPvtIETtDZ-mIqUQUP0ZktAny4n9XPCImt0lWgsxo_rYpTqUD5Emm4bjeP3K1Vl-_fhwNXNDo9yEq_CCWzZ1wPrL9xuBw3GwzCXG2pmqa94T54jnuLqGS0GwqtS9CdEbsd/s1600/Display-Of-Otzi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcCyHqMXVBMOIPvtIETtDZ-mIqUQUP0ZktAny4n9XPCImt0lWgsxo_rYpTqUD5Emm4bjeP3K1Vl-_fhwNXNDo9yEq_CCWzZ1wPrL9xuBw3GwzCXG2pmqa94T54jnuLqGS0GwqtS9CdEbsd/s640/Display-Of-Otzi.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">En la actualidad, Ötzi se conserva en una sala del museo acondicionada como cámara frigorífica, a la que podemos mirar a través de una pequeña ventana. Fuente de la imagen:</span><span style="font-size: small;"> http://mindsparker.com/wp-content/uploads/2011/04/Display-Of-Otzi.jpg</span></span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>¿Qué aspecto tenía Ötzi? Fisonomía, indumentaria y pertenencias </b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">En términos generales, la fisonomía de Ötzi no era sustancialmente diferente a la de los seres humanos de hoy en día. Durante el proceso de momificación, su cuerpo disminuyó de tamaño. Mide 1.54 metros, pero su altura debió de llegar a 1.60. Su talla de pie era un 38. Es decir, lo habitual en un hombre del Neolítico. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR9JrhtyiaupCK2Z8BrGydfREHDmDGCUmqvcKAJo9Yrv8HbGg6s8tML3z-ijPengkfMkmu-7TRIyU3tJ8tfDih6wKK2fbgJi0Tnm0G3H5TFWcOLclakbGk6RuHWeKrPw2GTFdLrTfgmJYz/s1600/otzi-reconstruction.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR9JrhtyiaupCK2Z8BrGydfREHDmDGCUmqvcKAJo9Yrv8HbGg6s8tML3z-ijPengkfMkmu-7TRIyU3tJ8tfDih6wKK2fbgJi0Tnm0G3H5TFWcOLclakbGk6RuHWeKrPw2GTFdLrTfgmJYz/s640/otzi-reconstruction.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">Reconstrucción aproximada de Ötzi realizada en 2011. Fuente de la imagen: </span><span style="font-size: small;">http://voices.nationalgeographic.com/2013/04/10/the-leader-of-the-plaque-iceman-otzi-</span><span style="font-size: small;">had-bad-teeth/</span><span style="font-size: small;"> Robert Clark.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4qqYYc3c6qCUnXrM4pDa19CGAPigREtlnH92fBtm4kYKuHffMFOgfWl2IjbcgwHVJiEqGYEFYPn3Lj7jPHMmGthGE6TbRI4Lg6G9VsFshZW29PpIOH5FkECY0SXGfJ2r1K_g-Kw0Fzyy/s1600/KENNIS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4qqYYc3c6qCUnXrM4pDa19CGAPigREtlnH92fBtm4kYKuHffMFOgfWl2IjbcgwHVJiEqGYEFYPn3Lj7jPHMmGthGE6TbRI4Lg6G9VsFshZW29PpIOH5FkECY0SXGfJ2r1K_g-Kw0Fzyy/s400/KENNIS.jpg" width="400" /></a></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">La reconstrucción a tamaño natural, siguiendo el "método Manchester" fue realizada por los hermanos holandeses Kennis and Kennis. Fuente de la imagen: </span><span style="font-size: small;">http://www.nature.com/nature/journal/v471/n7336/full/471034a.html?WT.ec_id=NATURE-20110303</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large; text-align: justify;">Los análisis de ADN han revelado que sus ojos eran de color marrón. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Su peso, sin prácticamente grasa, debió de ser en torno a los 50 kilos. Hoy en día solo alcanza los 13 kg. </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"> Su aspecto era el de un hombre barbado, con cabello largo -9 cms- fosco y ondulado. En su pelo no se encontraron piojos, aunque si pulgas en su indumentaria. En sus intestinos había lombrices y también sufría de diversos parásitos que le debieron provocar frecuentes diarreas.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Se cree que rondaba los 46 años cuando murió. Su aspecto era el de un hombre muy avejentado dado la rudeza de la vida de aquella época: al aire libre, a merced de los elementos...</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Su cuerpo muestra signos de enfermedades que debió de sufrir a lo largo de su vida: arterioesclerosis, fracturas en las costillas, en el hueso nasal... Incluso los investigadores han establecido, basándose en el estado de sus uñas, que su sistema inmune estaba debilitado por algún tipo de enfermedad crónica y que sufrió severos periodos de estrés varias semanas antes de su muerte.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0ocYWN_atRFv28PUY-mq9cgUDg64XdODhAmzRVSJQIAD2r2Nu1C-gPoouCba7GkgpJY8UWmfTsS27s4ZndWn6i_vA6vBUo11h00klvsTekJS7if18Y-tk0XQjouhD8Pd1-agXpnM0318/s1600/oetzi_sein_gesundheitszustand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG0ocYWN_atRFv28PUY-mq9cgUDg64XdODhAmzRVSJQIAD2r2Nu1C-gPoouCba7GkgpJY8UWmfTsS27s4ZndWn6i_vA6vBUo11h00klvsTekJS7if18Y-tk0XQjouhD8Pd1-agXpnM0318/s400/oetzi_sein_gesundheitszustand.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Las uñas de Ötzi revelan algunas de las enfermedades que sufría. Fuente de la imagen: iceman.it</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Es interesante destacar que Ötzi presenta cincuenta tatuajes por todo su cuerpo, en forma de líneas o cruces: en la columna, en el talón, en la rodilla... Al parecer se los hicieron con finas incisiones con carbón. Puede que indiquen algún tipo de tratamiento terapeútico, precedente de la acupuntura.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">En la India y África todavía hoy se utiliza el carbón como colorante para realizar tatuajes.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxXXVQC6h0FvKZNC88XTSQsTb8C_7Qm748kFNEm0sW633Cq8I-p1GHXoxFB6XbHDqwQLYqCisrGzwKaK0Aup-5poRdgy45A6iI1aRdYTkAtE7s6TvJuwFXckvdto0h8-uRXRCJbmKIAhdU/s1600/t2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxXXVQC6h0FvKZNC88XTSQsTb8C_7Qm748kFNEm0sW633Cq8I-p1GHXoxFB6XbHDqwQLYqCisrGzwKaK0Aup-5poRdgy45A6iI1aRdYTkAtE7s6TvJuwFXckvdto0h8-uRXRCJbmKIAhdU/s640/t2.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">Tatuajes de Ötzi en la espalda y en la rodilla. Fuente de la imagen: </span><span style="font-size: small;">http://www.ancient-origins.net/news-history-archaeology/scientists-discover-new-tattoos-5300-year-old-otzi-iceman-mummy-002633</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8R4YUSFmECcLSGvmXd2BvxXAWHfcP0lWKP6gKYako3rRbdhC4YVi_Zi4oBAL5j6h-aQlFgVQYsmqAB-742D57D1370559-NAg-A3uLpqddW6Cu959vB_FC4AqED2sJd-0lTL00jhg05Z/s1600/tatoo+3.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8R4YUSFmECcLSGvmXd2BvxXAWHfcP0lWKP6gKYako3rRbdhC4YVi_Zi4oBAL5j6h-aQlFgVQYsmqAB-742D57D1370559-NAg-A3uLpqddW6Cu959vB_FC4AqED2sJd-0lTL00jhg05Z/s640/tatoo+3.png" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fuente de la imagen: http://openi.nlm.nih.gov/detailedresult.php?img=3560943_10787_2012_153_Fig11_HTML&req=4</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large;">Ötzi iba muy bien equipado con diversos útiles y herramientas (hacha, flechas, unas daga, una red para cazar pájaros y conejos) incluso productos de "botiquín" como hongos de abedules de carácter terapeútico (antibiótico natural). Sus pertenencias e indumentaria aparecieron diseminados en torno a </span><span style="font-size: x-large;">sus restos humanos.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyrM3sheCRdOXe000rKlsYjNmTF5BGYjhXIC9KTe-D95Oc-16E8igWknXWro3lbER1PowVz-rVW14FZCeykYD3iyV9VkVu7W5spr2XmU74ywogbqPZGsihF7kz3UGL41BHOHdj-NKTEVdk/s1600/equipo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyrM3sheCRdOXe000rKlsYjNmTF5BGYjhXIC9KTe-D95Oc-16E8igWknXWro3lbER1PowVz-rVW14FZCeykYD3iyV9VkVu7W5spr2XmU74ywogbqPZGsihF7kz3UGL41BHOHdj-NKTEVdk/s640/equipo.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Indumentaria, útiles y herramientas que Ötzi llevaba consigo. Fuente de la imagen: iceman.it</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Según los estudios realizados, en el momento de su muerte, Ötzi estaba completamente vestido, tumbado boca bajo sobre una gran piedra. Lo primero que estuvo expuesto al aire fue la ropa de su espalda, que debido a los fuertes vientos prevalentes a esa altitud, se desprendió de su cuerpo. En cambio, la indumentaria que cubría su pecho y su estómago se conservó en bastante buen estado. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Bajo condiciones normales de conservación, sus indumentos de materiales orgánicos no habrían sobrevivido. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Es difícil estimar como habituales de la Edad del Cobre la indumentaria que él llevaba ya que no se han conservado ejemplos comparables de esa época.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjreOpHL2aNQCeGoinutJqCAjTn0pHxlgoEJRXpr3feDwoYyZDvKnpAMAoyPObmMKGZyUsnuzQtCUBfcQJ_y2ywegVHpO_MJQrriQg94MbDFVOityGuCUOr4srukdixinKO-FRw5_zfXYVJ/s1600/vestido.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjreOpHL2aNQCeGoinutJqCAjTn0pHxlgoEJRXpr3feDwoYyZDvKnpAMAoyPObmMKGZyUsnuzQtCUBfcQJ_y2ywegVHpO_MJQrriQg94MbDFVOityGuCUOr4srukdixinKO-FRw5_zfXYVJ/s640/vestido.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Reconstrucción de la indumentaria de Ötzi. Fuente de la imagen: </span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">http://www.age-of-the-sage.org/archaeology/otzi_the_iceman.html</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Su vestimenta cubrían su pecho, también llevaba un gorro de piel, pantalones, un taparrabos, un cinturón, un par de zapatos y una capa hecha de hierba o paja. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Ninguno de sus ropas estaban hechas con un tejidos. Procedían de pieles de animales y fibras vegetales. Han sido restauradas en el Römisch-Germanisches Zentralmuseum de Mainz (Maguncia), Alemania.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Upeu6qVU6txjklgI9UkJ_p5HZ1rliveJCxoqC3-OS5DphIKaB-OD5ARagFpW2183TW0P-26Flrcf1ow21VGXQcAlUFyVZBEgAwtsBPtag-T4-5IvbNrJIRIv8P6t4dG7L2ISwhJP30ZW/s1600/imagen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Upeu6qVU6txjklgI9UkJ_p5HZ1rliveJCxoqC3-OS5DphIKaB-OD5ARagFpW2183TW0P-26Flrcf1ow21VGXQcAlUFyVZBEgAwtsBPtag-T4-5IvbNrJIRIv8P6t4dG7L2ISwhJP30ZW/s640/imagen.jpg" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>La capa de paja</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La capa de paja le aislaba y protegía del frío.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Dhor1LQuB9hQ6lK1sBp5BYeQCcL0eLk3_kHZvXbQuYnwQ-L4pa-Zz7Hb5XNUh4txj0lmxXr8I95cbAlzZqTS-bQdkqc_sVKicrZ4eyQ6yKunutM5J9NtL_bPZqWf3XMa3GLiEkozjdfo/s1600/oetzi_grasmantel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Dhor1LQuB9hQ6lK1sBp5BYeQCcL0eLk3_kHZvXbQuYnwQ-L4pa-Zz7Hb5XNUh4txj0lmxXr8I95cbAlzZqTS-bQdkqc_sVKicrZ4eyQ6yKunutM5J9NtL_bPZqWf3XMa3GLiEkozjdfo/s640/oetzi_grasmantel.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Detalle de la capa de Ötzi. Fuente de la imagen: iceman.it</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D7NjWncSDfi8SQxIVlhaN5jals2A9yNH3ZKqQwMEWQoDsW8vkQBNdoezgkMJN7awFtZxhwc8SLfsoC4gPMAG0ZKcLS_u21qLbZkbf7fCHz0EvRrXK-BBDw56eaxa1ipncfEBmaCUq6-M/s1600/capa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D7NjWncSDfi8SQxIVlhaN5jals2A9yNH3ZKqQwMEWQoDsW8vkQBNdoezgkMJN7awFtZxhwc8SLfsoC4gPMAG0ZKcLS_u21qLbZkbf7fCHz0EvRrXK-BBDw56eaxa1ipncfEBmaCUq6-M/s640/capa.jpg" width="354" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Parece ser que la capa la llevaba sobre su cabeza, anudada con una cuerda, no como se muestra en esta reconstrucción. Fuente de la imagen: http://www.primitiveways.com/Iceman.html</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>El chaleco de piel de cabra</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Se cree que lo llevaría abierto por delante. Es probable que fuera atado con su cinturón. No han llegado restos de sus mangas, no se sabe si las tenía o no.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Fuente de la imagen: iceman.it</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>Los pantalones</b></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Fuente de la imagen: iceman.it</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Los pantalones estaban hechos de varias piezas de piel de cabra y solo cubrían los muslos y las pantorrillas. Medían 65 cm de largo. Eran prácticos y funcionales. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Con un sistema que recuerda a las calzas medievales, se anudaban con cordones o lazos -procedentes de piel de ciervo que cazaba Ötzi- ligados al cinturón. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Muy gastados por un largo uso, presentan indicios de haber sufrido reparaciones frecuentes.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Están considerados como los pantalones conservados más antiguos del mundo.</span></div>
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<b style="font-family: Times, 'Times New Roman', serif;"><span style="font-size: x-large;">El taparrabos</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDDj7gRXVtbeWX8-8n2JulwujqTGjiAkQVIAHCyvkVdo4YHX4UsjWkrv-TLUUTkaEZ99gmE94RmfDHEQVUiP4Ru632Ig2XWigeDRj_9-AAYXScmrL2jodi7A6zeQ4ZokG-lx_Gb05R4Lc/s1600/oetzi_lendenschurz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDDj7gRXVtbeWX8-8n2JulwujqTGjiAkQVIAHCyvkVdo4YHX4UsjWkrv-TLUUTkaEZ99gmE94RmfDHEQVUiP4Ru632Ig2XWigeDRj_9-AAYXScmrL2jodi7A6zeQ4ZokG-lx_Gb05R4Lc/s640/oetzi_lendenschurz.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Fuente de la imagen: iceman.it</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">El taparrabos es de piel de cabra. Mide 50 cm de largo y 33 cm de ancho. Lo llevaba puesto como una especie de pañal, sujetado con un cinturón.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>Los zapatos</b></span><br />
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Cuando Ötzi fue llevado al Instituto Anatómico de la Universidad de Innsbruck, Austria, su zapato derecho todavía estaba en su pie, pero tuvo que ser quitado para su restauración.</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La estructura de los zapatos era extremadamente funcional y refinada y consistía en una parte interna y otra externa.</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">En su interior constaba de una especie de red formada con fibras vegetales -procedentes de algún árbol- utilizadas como material aislante. La parte exterior estaba realizada con piel de venado (gamo o similar). Ambas secciones del zapato estaban atadas a una suela de forma oval mediante correas de piel. Según la arqueóloga Anne Reichert, que reconstruyó los zapatos de Ötzi, estos zapatos son sorprendentemenete cálidos y confortables, pero no muy adecuados para andar bajo la lluvia.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSgdDIAycbpqV7tlFItnCmCASKxJ9dGRQQ7nSRE0rLnTnsIKbRNaAN2PaUlRsvr9gcPIsLFZ0hfrvQNL7Rc5Os0eW1chXL6vtDht_xjGJdlqOVkrr4izXlU8vTa1BdR9snP_45ziSNDb6/s1600/shoes.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSgdDIAycbpqV7tlFItnCmCASKxJ9dGRQQ7nSRE0rLnTnsIKbRNaAN2PaUlRsvr9gcPIsLFZ0hfrvQNL7Rc5Os0eW1chXL6vtDht_xjGJdlqOVkrr4izXlU8vTa1BdR9snP_45ziSNDb6/s640/shoes.tiff" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_2Dtn5x5kHBv0idLoRxG_ZupnddP4mbCt3-YbXy43GVo9I8mhbXdBSeFm3R_GyedgMEAk5rnmCr3HtS_qKT2nXDfKpXcXGtlpODyvao82aq1nrNfz4bI7nJP7Uw-KxIvvpX3oimjknR4/s1600/oetzi_schuhe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN_2Dtn5x5kHBv0idLoRxG_ZupnddP4mbCt3-YbXy43GVo9I8mhbXdBSeFm3R_GyedgMEAk5rnmCr3HtS_qKT2nXDfKpXcXGtlpODyvao82aq1nrNfz4bI7nJP7Uw-KxIvvpX3oimjknR4/s640/oetzi_schuhe.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Fuente de la imagen: iceman.it</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ombkWcZojmMBmjijiUUzmQA0hQt54HdV_pIuhpwfl3MjtS2bRxXDYb24zG5AKZxfaoL3I4NcaGSOJQqhCY5oaAbEJC_ItnYJ7eKpZxJTtXpFFgysSRBVE6rXfHiAi0UHhBV5v4d6Cb3R/s1600/shoes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ombkWcZojmMBmjijiUUzmQA0hQt54HdV_pIuhpwfl3MjtS2bRxXDYb24zG5AKZxfaoL3I4NcaGSOJQqhCY5oaAbEJC_ItnYJ7eKpZxJTtXpFFgysSRBVE6rXfHiAi0UHhBV5v4d6Cb3R/s640/shoes.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fuente de la imagen: http://misteroriginal.com/3106bc0918/</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfpiv8ctjZzddElHSnz8QbGL3ZnCOWvT7s9F5MFeNHi-jf3gwqvnwCkWUm6IJf9u8C4aHX4M4DpJCbivo3x1ZJ0Hs0tJNCGEidaXyfPzMpc6G-lPh3hotOZfIiSaKQWHa-t_KizZ98HeIM/s1600/otzi-schuh_foto_senckenberg%252C_trankner.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfpiv8ctjZzddElHSnz8QbGL3ZnCOWvT7s9F5MFeNHi-jf3gwqvnwCkWUm6IJf9u8C4aHX4M4DpJCbivo3x1ZJ0Hs0tJNCGEidaXyfPzMpc6G-lPh3hotOZfIiSaKQWHa-t_KizZ98HeIM/s640/otzi-schuh_foto_senckenberg%252C_trankner.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Reconstrucción de los zapatos de Ötzi. Fuente de la imagen: http://www.senckenberg.de/files/content/presse_donecker/otzi-schuh_foto_senckenberg,_trankner.jpg</span><br />
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<b style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">El gorro de piel de oso</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8giZLRHkrJzl5MuLS4xCcJ9f7_eZtr3S4JJYZ44iE-l3ecuk5Y0IZBUIaCxp3rYWaXfxG7FgNt26iQTLc__whRbNq_Zu3hXPplS4CAARjpJNcQR11T8GlDTLGcLZTgKbWHdXq1yp-g1Y/s1600/oetzi_baerenfellmuetze.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8giZLRHkrJzl5MuLS4xCcJ9f7_eZtr3S4JJYZ44iE-l3ecuk5Y0IZBUIaCxp3rYWaXfxG7FgNt26iQTLc__whRbNq_Zu3hXPplS4CAARjpJNcQR11T8GlDTLGcLZTgKbWHdXq1yp-g1Y/s640/oetzi_baerenfellmuetze.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fuente de la imagen: iceman.it</span></td></tr>
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<span style="font-size: x-large;">El gorro de piel es una de las piezas mejor conservadas de toda su indumentaria. Apareció al lado de su cabeza. </span><br />
<span style="font-size: x-large;">Tiene forma semiesférica y está hecho de piezas de piel de oso cosidas entre sí. Como sistema de sujeción presenta dos cintas de piel para atarlas debajo de la barbilla.</span><br />
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<b style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La mochila</span></b><br />
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La mochila consite en una pieza de madera de avellano en forma de U, de dos metros de largo. Presumiblemente iba cubierta con pieles.</span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">En esta mochila llevaba sus pertenencias.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuDDQrpLb5ZChjo6YWZWflo1pGTeTGFklkh_xDpU4c6e3QSzzoWyu9sEdTD4n1Mv38QLIG4eLAdbJnxBqjQpOgLEWnILSuWFLBwZzg8Tqx-_mDcuTEjqE1BlTqZSsMQdLDFI7NfJ4-RjLK/s1600/2-Ru%25CC%2588ckentrage_6_13_Rueckentrage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuDDQrpLb5ZChjo6YWZWflo1pGTeTGFklkh_xDpU4c6e3QSzzoWyu9sEdTD4n1Mv38QLIG4eLAdbJnxBqjQpOgLEWnILSuWFLBwZzg8Tqx-_mDcuTEjqE1BlTqZSsMQdLDFI7NfJ4-RjLK/s400/2-Ru%25CC%2588ckentrage_6_13_Rueckentrage.jpg" width="285" /></a></div>
<span style="font-size: small;">Fuente de la imagen: iceman.it</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hnz0gAbbpw7k66-3IfF9V6N0Vbw6HZyzE-7QwHaQvAvY5mwcwz0h44i1xVY-1to1XQpdJgs0Te8emlSFvSrFRfaOiBA6JccRreg-gqpKdNB_7HZgMvx3gJvAIsw3qvZH8tvZVXU94TJH/s1600/resize.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hnz0gAbbpw7k66-3IfF9V6N0Vbw6HZyzE-7QwHaQvAvY5mwcwz0h44i1xVY-1to1XQpdJgs0Te8emlSFvSrFRfaOiBA6JccRreg-gqpKdNB_7HZgMvx3gJvAIsw3qvZH8tvZVXU94TJH/s640/resize.jpg" width="360" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Reconstrucción de la mochila de Ötzi. Fuente de la imagen:<span style="font-family: "times" , "times new roman" , serif;"> https://storify.com/ancientcraftUK/making-an-otzi-style-backpack</span></span></td></tr>
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<b style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><br /></span></b>
<span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: start;"><span style="font-size: x-large;"></span></b>
<b style="text-align: start;"><span style="font-size: x-large;">El cinturón y la faltriquera</span></b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: start;"><span style="font-size: x-large;"></span></b><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b style="text-align: start;"><span style="font-size: x-large;"></span></b>
<span style="text-align: start;"><span style="font-size: x-large;">El cinturón mide 4-4.8 cms. Es de piel de ternera y la faltriquera o pequeño bolso que lo acompaña es también de piel. Los fragmentos que han llegado del cinturón eran originariamente de dos metros de largo y podían rodear la cintura en dos círculos. </span></span></span><br />
<span style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La pequeña faltriquera contenía un raspador, un perforador, una pieza de silex y un punzón de hueso de 7.1 cm.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGC4vo3iAFNiCajUj-gZBDqIVHdlrKJs5epK-IyGHGYg7On8PILZKYvqc5id_ievWF86m9UNdLcwGJ3A290y-lxes51n54a7-2mqLdPT0oqgxy0mYEyeOyU1a5_uu1I2DR3y1XRAqwW3W/s1600/oetzi_guerteltasche.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGC4vo3iAFNiCajUj-gZBDqIVHdlrKJs5epK-IyGHGYg7On8PILZKYvqc5id_ievWF86m9UNdLcwGJ3A290y-lxes51n54a7-2mqLdPT0oqgxy0mYEyeOyU1a5_uu1I2DR3y1XRAqwW3W/s640/oetzi_guerteltasche.jpg" width="640" /></a></div>
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<b style="text-align: start;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Una muerte violenta</span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">La última comida de Ötzi fue carne de cabra y pan. </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Existen evidencias que demuestran que murió asesinado.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHY3Zgwv-qU5ncXfZF3uYmIcYAftmuTma-45-QI3Pa8DV2RM_mbnTcO8LoTtxg0grnWYsw5ESwKC78Cb-dhMIoTaNmLEBv5_rJqnyYixlZFifVcwg8a-ttKjledPfiP_P4_N2ZqfH1D3a_/s1600/iceman-arm-thaws-615.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHY3Zgwv-qU5ncXfZF3uYmIcYAftmuTma-45-QI3Pa8DV2RM_mbnTcO8LoTtxg0grnWYsw5ESwKC78Cb-dhMIoTaNmLEBv5_rJqnyYixlZFifVcwg8a-ttKjledPfiP_P4_N2ZqfH1D3a_/s640/iceman-arm-thaws-615.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">Fuente de la imagen: http://ngm.nationalgeographic.com/2011/11/iceman-autopsy/hall-text. En la mano se cree que llevaba agarrado algún objeto, presumiblemente una daga o puñal.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Se cree que en plena huida, por el motivo que fuera, resultó herido por una flecha en el hombro izquierdo, que alcanzó su arteria subclavia y le provocó la muerte por desangramiento. Trazas de su sangre se han encontrado en los restos de su indumentaria. Presenta además, una herida en la cabeza. Triste final para nuestro querido hombre del hielo, Ötzi.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Fuentes de documentación: la visita al Museo Arqueológico de Bolzano y el libro de Angelica Fleckinger, "Ötzi, the Iceman. The Full Facts at a Glance", South Tyron Museum of Archaelogy, Bolzano, 2014.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><b>PARA SABER MÁS</b></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Visiten la web del <a href="http://www.iceman.it/it">Museo Arqueológico del Alto-Adige de Bolzano</a>.</span></div>
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com4tag:blogger.com,1999:blog-8265587279902146571.post-5525086085316668372023-10-07T08:59:00.000+02:002023-10-07T08:59:05.212+02:000.2. LOS ORÍGENES DE LA INDUMENTARIA: LA PREHISTORIA<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimaa0XwIcMu8Rl7sI4kXm-UFc5HXnbsqnFde6t7iTGCCwWogOYzW1MQcl7phfFXUzRw2tCP-eWMyYibt-DJYRAcAU0whQ3e8t54LpBMBn9thic7DG7JdWlwdKJ3QGMBgaJIYJKF2nD5rE/s1600/magdalenian-humans-elisabeth-daynes-science-photo-library-full-width.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="1160" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimaa0XwIcMu8Rl7sI4kXm-UFc5HXnbsqnFde6t7iTGCCwWogOYzW1MQcl7phfFXUzRw2tCP-eWMyYibt-DJYRAcAU0whQ3e8t54LpBMBn9thic7DG7JdWlwdKJ3QGMBgaJIYJKF2nD5rE/s640/magdalenian-humans-elisabeth-daynes-science-photo-library-full-width.jpg" width="640" /></a></div>
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Fuente de la imagen: http://www.nhm.ac.uk/discover/first-britons.html</div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES" style="color: #3366ff; font-size: large;">Fuentes
y dificultades para su estudio. Los primeros indicios: desde el Paleolítico a
la revolución neolítica. La Edad de los Metales. Adornos y Joyas<o:p></o:p></span></i></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff; font-size: large;">Fuentes
y dificultades para su estudio<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;"><span lang="ES" style="mso-fareast-language: ES;">Las <b style="mso-bidi-font-weight: normal;">investigaciones arqueológicas</b> de los diversos asentamientos humanos
y las muestras artísticas que en ellos se han ido descubriendo son una prueba
palpable de que la preocupación o necesidad por la indumentaria se esconde en
la noche de los tiempos. Aunque en un principio los ejemplos no eran demasiado
abundantes, el paso del tiempo y las nuevas investigaciones han ido sacando a
la luz muestras evidentes de que la raza humana se protegió y cubrió su cuerpo
desde épocas remotas. Aunque este tipo de indumentaria no pueda ser incluido
dentro del concepto actual de Moda sí<b> </b>nos permite visualizar los
primeros trajes o vestidos que el hombre consiguió crear utilizando las <b style="mso-bidi-font-weight: normal;">fibras animales o vegetales</b> que, en
cada caso, tenía a su alcance y que, ayudado de su inventiva, consiguió ir
creando su propia indumentaria; indumentaria que podríamos considerar de tipo
funcional, aunque no podemos desechar otras hipótesis.</span><span lang="ES" style="font-family: "tahoma"; mso-fareast-language: ES;"><o:p></o:p></span></span></div>
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<span lang="ES" style="font-size: large;">Como sabemos, la mejor fuente para conocer la vestimenta de una época,
cuando no han sobrevivido vestigios de la misma, es mediante el arte y los
testimonios escritos. En el caso de la prehistoria contamos con pocos ejemplos
–algún ejemplo testimonial, alguna imagen de <b style="mso-bidi-font-weight: normal;">pintura rupestre</b>- y ningún texto. <o:p></o:p></span></div>
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<span lang="ES"><span style="font-size: large;">Los <b style="mso-bidi-font-weight: normal;">documentales históricos</b>
nos proporcionan información interesante basada en estudios de expertos
científicos y prehistoriadores que reconstruyen el aspecto y vestimenta de
nuestros antepasados prehistóricos. Es frecuente, también que en los museos <b style="mso-bidi-font-weight: normal;">arqueológicos</b> –como en los estupendos Museo
Arqueológico de Alicante o el Nacional de Madrid- podamos contemplar imágenes
alusivas a la indumentaria prehistórica. Y no debemos olvidar las <b style="mso-bidi-font-weight: normal;">publicaciones</b> de divulgación científica
sobre la prehistoria, donde encontramos referencias a la indumentaria y adornos
de los homínidos de aquella larga etapa. </span><o:p></o:p></span></div>
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<span style="font-size: 9pt;"> </span><span style="font-size: 9pt;">Recreaciones
de un </span><i style="font-size: 9pt;">Neanderthal</i><span style="font-size: 9pt;"> y su vestimenta</span></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-size: 9.0pt;">Publicación sobre los neandertales de José Luis
Arsuaga, uno de los grandes divulgadores científicos sobre la prehistoria en
general y Atapuerca en particular; Sala dedicada a la prehistoria y cuentas de
collar y conchas del Museo Arqueológico de Alicante.<o:p></o:p></span></div>
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<br /></div>
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<span lang="ES" style="font-size: large;">Por lo demás, el <b style="mso-bidi-font-weight: normal;">cómic</b> y el <b style="mso-bidi-font-weight: normal;">cine</b> han dado rienda suelta a la
creatividad e imaginación para mostrar cómo pudieron ser esas prendas, siendo
ejemplos representativos de ellos <i style="mso-bidi-font-style: normal;">Los
picapiedra</i> –<i style="mso-bidi-font-style: normal;">The flinstons</i>- y las
películas <i style="mso-bidi-font-style: normal;">Un millón de años antes de
Cristo</i> con Raquel Welch de protagonista y <i style="mso-bidi-font-style: normal;">En busca del fuego</i> (J-J., Annaud,1981) una libre adaptación de la
novela de Aisné, con diálogos creados por Anthony Burguess.</span></div>
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<span style="font-size: 9pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhCqez-OLAp0jEXr2NmxYLlXFU5AZNf3kBCEgyaxKq3PrQcLJMGEKaV7W516csjbLaUCmTx-XkclTHEPZVqSbBINhtHQIF9s81JWin0rxvyUizecgbQP1IPmhmu18q_zB4l0ycz5iCx4/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="279" data-original-width="879" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhCqez-OLAp0jEXr2NmxYLlXFU5AZNf3kBCEgyaxKq3PrQcLJMGEKaV7W516csjbLaUCmTx-XkclTHEPZVqSbBINhtHQIF9s81JWin0rxvyUizecgbQP1IPmhmu18q_zB4l0ycz5iCx4/s640/1.tiff" width="640" /></a></div>
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<span style="font-size: 9pt;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff; font-size: large;">El
Paleolítico<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;"><span lang="ES" style="mso-bidi-font-weight: bold;">Con el término <b><i style="mso-bidi-font-style: normal;">Prehistoria</i></b> denominamos a la etapa
de la evolución histórica en la que no han aparecido documentos escritos.</span><span lang="ES"> Es un periodo muy amplio en el tiempo que comprende casi la totalidad
de la presencia humana sobre la tierra.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ES">Durante este período se completa el proceso de <b style="mso-bidi-font-weight: normal;">hominización</b>, es decir, el proceso de evolución de cierto grupo de
primates para llegar a ser seres humanos. Nuestra especie “homo” lleva en el
mundo entre 2.5 -3 millones de años pero los primeros humanos anatómicamente
modernos datan de hace c. 100.000 años (<i style="mso-bidi-font-style: normal;">homo
sapiens sapiens</i>) </span><span lang="ES" style="font-size: 9.0pt;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-size: large;">El <b style="mso-bidi-font-weight: normal;">Paleolítico </b>o edad de
piedra antigua, se desarrolla hace 600.000 años -10.000 años. Se divide en tres
etapas: inferior, medio y superior, según la evolución tecnológica de los
útiles o herramientas que utilizaban. El estilo de vi</span><span lang="ES"><span style="font-size: large;">da era
nómada y depredador, basado en la caza y en la utilización de la piedra –el sílex-
que se usaban como herramienta para trabajar la madera, el hueso, etc. Vivían
en cuevas. Durante esta etapa ya surge el arte (cuevas de Altamira). </span><o:p></o:p></span></div>
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<span lang="ES"><span style="font-size: large;">Las <b style="mso-bidi-font-weight: normal;">pieles animales</b> fueron
las primeras materias primas utilizadas por el hombre, ya desde el Paleolítico.
Para poder ser utilizadas como elemento de abrigo requerían algún tipo de
tratamiento. En efecto, en su <b style="mso-bidi-font-weight: normal;">elaboración</b>
distinguimos varias fases: se comenzaba desollando al animal con ayuda de un
instrumento de sílex afilado. Para obtener la piel en una sola pieza cortaban
el vientre siguiendo el eje que une la cabeza y la cola; a continuación se
eliminaban los residuos con un raspador y para evitar que las pieles se
endurecieran, se humedecían y golpeaban repetidas veces. Si les añadían aceite
o grasa se mantenían flexibles durante más tiempo. Posteriormente, a través del
ácido tánico (contiene tanino) que obtenían macerando la corteza de ciertos
árboles –robles y sauces sobre todo-, conseguían que las pieles fueran
flexibles e impermeables, cortándose según la forma que quisieran antes de ser
cosidas con agujas de marfil o hueso. También durante el Paleolítico Superior
realizaban <b style="mso-bidi-font-weight: normal;">fibras vegetales</b>, siendo
su elaboración un proceso mucho más sencillo que el realizado con las
pieles.<span style="mso-spacerun: yes;"> </span>Fundamentalmente eran cuerdas
que luego utilizaban como sistema de sujeción y transporte y también para
elaborar prendas de vestir.</span><o:p></o:p></span></div>
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<span lang="ES"><br /></span></div>
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<span lang="ES" style="font-size: 9.0pt;"> Agujas paleolíticas; detalle de la Venus
paleolítica de Brassempouy (Francia). Tallada en marfil, luce una especie de
tocado-redecilla vegetal. (c. 22000 a de C)<o:p></o:p></span></div>
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<span lang="ES" style="font-size: 9.0pt;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff; font-size: large;">La
revolución neolítica<o:p></o:p></span></b></div>
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<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-size: large;">Cuando se analiza la etapa neolítica se considera que fue una verdadera
<b style="mso-bidi-font-weight: normal;">revolución</b>, ya que fue enorme el
cambio que supuso el paso de sociedades nómadas, dedicadas a una vida
depredadora, basada en la caza y pesca, frente al Neolítico que implicó que el
hombre se hiciera sedentario y se dedicara a la agricultura y domesticación de
animales como el cerdo o el perro. Es en ese contexto “revolucionario”, cuando
surgen grandes inventos para la humanidad como la cerámica o las artes
textiles, gracias a la invención de los <b style="mso-bidi-font-weight: normal;">telares.
</b>Paulatinamente se fueron sustituyendo las pieles, que no desaparecieron
totalmente, por telas realizadas en <b style="mso-bidi-font-weight: normal;">lino</b>
como material más habitual. El empleo del <b style="mso-bidi-font-weight: normal;">algodón</b>
fue mucho más reciente<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"> ya que no se difundió en el Mediterráneo hasta el 700 a de C.</span></span> Conocemos varios ejemplos de telares neolíticos –como los hallados en Suiza,
por ejemplo- Son en esencia, dos vástagos o ramos tiernos de madera clavados en el suelo y rematados en forma horquillada, sobre los que
descansa una tercera pieza horizontal en la que se enrollan los hilos de los
que, para que permanezcan tensos, se cuelgan pesos diversos, permitiendo así el
entrecruzamiento de hilos mediante el paso de una lanzadera. Los hilos que se disponen
en forma paralela y tirantes forman la <b style="mso-bidi-font-weight: normal;">urdimbre
</b>mientras que los que se cruzan perpendicular y transversalmente constituyen
la <b style="mso-bidi-font-weight: normal;">trama</b> de un <b style="mso-bidi-font-weight: normal;">tejido.</b> En esta forma de cruzar los hilos se puede observar una
clara concomitancia con las labores de <b style="mso-bidi-font-weight: normal;">cestería
prehistóricas</b>, de cuya técnica es muy posible que derive. Las piezas
neolíticas y de las edades del metal que nos han llegado son de reducidas
dimensiones. Ya desde el neolítico se <b style="mso-bidi-font-weight: normal;">teñían</b>
las telas, habitualmente con colorantes de origen vegetal. Se han hallado
ejemplos en tonalidades amarillas, rojas, azules...</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxLaqcHV9wflIM8Wd8v-H2iJeo4f_RJwCP2MuiGaIOdYKclrfwl48iHK1XpS0U43le8K7wwvZNbjo4TQLl07Ke5TFMeL_E8aZm38xcJv0rd2r3_cFOSAGq-Q8Ocl_ecZqjIxhq_b5yMmU/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="146" data-original-width="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxLaqcHV9wflIM8Wd8v-H2iJeo4f_RJwCP2MuiGaIOdYKclrfwl48iHK1XpS0U43le8K7wwvZNbjo4TQLl07Ke5TFMeL_E8aZm38xcJv0rd2r3_cFOSAGq-Q8Ocl_ecZqjIxhq_b5yMmU/s1600/1.png" /></a></div>
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<span lang="ES" style="font-size: 9.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyW59HkF4N1Dyx3Yj5ocixXgvP5OlsjwYoVrm0cCPJhG2aJnlmYMG1LZad4majX14HHkDo4mLT4aOHPZXrF-_EGG7q0ihdfdElG3jtdt23MRD-Je5cfc5pFUeY_Eq4gzGW9p06GVA1bBk/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="244" data-original-width="1087" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyW59HkF4N1Dyx3Yj5ocixXgvP5OlsjwYoVrm0cCPJhG2aJnlmYMG1LZad4majX14HHkDo4mLT4aOHPZXrF-_EGG7q0ihdfdElG3jtdt23MRD-Je5cfc5pFUeY_Eq4gzGW9p06GVA1bBk/s640/1.tiff" width="640" /></a></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-size: 9.0pt;"> Reconstrucción vestimenta neolítico; un telar
prehistórico; un detalle de tela de lino del neolítico</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES" style="font-size: 9.0pt;"><br /></span></div>
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<span lang="ES" style="font-size: 9.0pt;"> Fuente: el diario de Atapuerca: http://www.diariodeatapuerca.net/Untelarprehistorico.pdf<o:p></o:p></span></div>
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<span lang="ES" style="font-size: 9.0pt;"> Sandalias neolíticas de esparto provenientes de
la Cueva de los Murciélagos (Córdoba. Luis García, <i style="mso-bidi-font-style: normal;">Creative commons</i>). Zapato de piel de la Edad de Bronce encontrado
en Holanda</span><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff;"><o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSRJXofHsj1hD5d3LWc_15RGicEQqdGKkuWSGKB8rf9Na3D0v7V-5Co-gVVEMHb-ztsG1lnhFhti4aa6BAjVax0Xswbeq13slR9XBqLddoPCfANC7EWwKU-d2GwfTgBaXqvWW2rhUfnC0/s1600/1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="930" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSRJXofHsj1hD5d3LWc_15RGicEQqdGKkuWSGKB8rf9Na3D0v7V-5Co-gVVEMHb-ztsG1lnhFhti4aa6BAjVax0Xswbeq13slR9XBqLddoPCfANC7EWwKU-d2GwfTgBaXqvWW2rhUfnC0/s640/1.png" width="640" /></a></div>
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<div class="MsoNormal">
<span lang="ES" style="font-size: 9.0pt;"> Fuente: el diario de
Atapuerca<o:p></o:p></span></div>
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<span lang="ES" style="font-size: 9.0pt;"><br /></span></div>
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<span lang="ES" style="font-size: 9.0pt;"> Fuente: el diario de Atapuerca</span><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff;"><o:p></o:p></span></b><br />
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<span lang="ES" style="font-size: 9.0pt;">Las pinturas neolíticas rupestres de Cogull,
Lérida son los ejemplos más antiguos conocidos de representación de
indumentaria en la Península Ibérica; detalle de –hasta el momento- la tela más
antigua hallada en Gran Canaria, en la cueva de Gáldar (c. Siglo XV-XVI)<o:p></o:p></span></div>
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<span lang="ES"><span style="font-size: large;">En las
pinturas parietales de finales del Paleolítico y del Neolítico del <b style="mso-bidi-font-weight: normal;">Levante </b>español encontramos testimonios
de mujeres vestidas con faldas acampanadas y largas. En las pinturas de <b style="mso-bidi-font-weight: normal;">Valltorta </b>(Castellón) aparecen también
figuras masculinas con diversos tocados, plumas y cintas en la cabeza, tronco y
extremidades.</span><o:p></o:p></span></div>
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<span lang="ES"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff;"><span style="font-size: large;">La Edad de
los Metales<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-size: large;"><span lang="ES">La <b style="mso-bidi-font-weight: normal;">Edad de los Metales</b> es la
etapa posterior al Neolítico, se desarrolla a partir del IV-III milenio. Se
divide en Edad del Cobre, Edad del Bronce y Edad del Hierro. En este periodo el
hombre accede a estos metales: la utilización del metal es buena prueba de
sociedades más desarrolladas, en la que aumentan los intercambios comerciales.
Supone un gran avance de la economía.</span><span lang="ES"><o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-size: large;">Con los inicios de la Edad de los Metales asistimos a la incorporación
de la <b style="mso-bidi-font-weight: normal;">lana </b>como material utilizado
por el hombre prehistórico para la elaboración de sus tejidos y a la difusión
de las joyas entre los sectores más poderosos de la sociedad.</span><o:p></o:p></span></div>
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<span lang="ES"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKtkLqxgVPgPo_peN1Vh6pYeRvA1k_yWRdYNECwK0JaBRKy_oYpI1KLuA-uxgn3dOfEMtkGxUzMXkvz-UCtWHmmIyOoND7dzrtjHpQcPAJMlbkaMJRIQwU_IN9TVAvhWUl_EJ0oJvgn9A/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKtkLqxgVPgPo_peN1Vh6pYeRvA1k_yWRdYNECwK0JaBRKy_oYpI1KLuA-uxgn3dOfEMtkGxUzMXkvz-UCtWHmmIyOoND7dzrtjHpQcPAJMlbkaMJRIQwU_IN9TVAvhWUl_EJ0oJvgn9A/s640/1.jpg" width="480" /></a></div>
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<span lang="ES"><br /></span></div>
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<span lang="ES"><span style="font-size: large;">Entre los ejemplos más relevantes que nos han llegado de indumentaria de la Edad de los Metales, concretamente de la Edad del Cobre (cuarto milenio a. de C.), destaca Ötzi, el hombre que vino del hielo.</span></span></div>
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<span style="font-size: large;">Ötzi es el nombre con el que los arqueólogos denominaron a los restos humanos de una momia congelada en los Alpes. Es una de las momias más antiguas del mundo. Se denomina así porque su descubrimiento fue cercano al valle de Ötz, entre Austria e Italia. Fue hallada en 1991.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4aKjWhjehgbVovn_03yMkmXJ5rCHs7kNypH2DAOsfGnauMzdmVgBNJ7rR1mlbp2gqdgqCfIbthyg14SviVcWxd5EmKDNW9WpbyVoCS5FCvIRl5CNpor9XToVxMe4zK8Np8DuNOCzAmAo/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="409" data-original-width="640" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4aKjWhjehgbVovn_03yMkmXJ5rCHs7kNypH2DAOsfGnauMzdmVgBNJ7rR1mlbp2gqdgqCfIbthyg14SviVcWxd5EmKDNW9WpbyVoCS5FCvIRl5CNpor9XToVxMe4zK8Np8DuNOCzAmAo/s640/1.jpg" width="640" /></a></div>
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Indumentaria, útiles y herramientas que Ötzi llevaba consigo. Fuente de la imagen: iceman.it</div>
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<br /></div>
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<span style="font-size: large;">Hasta ese momento, nunca se habían encontrado restos humanos tan antiguos con una indumentaria bastante completa y con varias pertenencias personales. </span></div>
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<span style="font-size: large;">La vestimenta cubría su pecho, también llevaba un gorro de piel, pantalones, un taparrabos, un cinturón, un par de zapatos y una capa hecha de hierba o paja. </span></div>
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<span style="font-size: large;">Ninguno de sus ropas estaban hechas con un tejidos. Procedían de pieles de animales y fibras vegetales. Han sido restauradas en el Römisch-Germanisches Zentralmuseum de Mainz (Maguncia), Alemania.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwFXP8-IxpzSvBrC63gengS4as-4gh_0BasTx0qS7IhottKMY7bg7mIMJuX0nHFubJSOeFL_fIgPcpSA58S2sWy2aj2OvPiRWgbLcAJrYyYROB6nh47g7_Bf8_AIgEsADV1Bjjkq_MP0/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="241" data-original-width="435" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwFXP8-IxpzSvBrC63gengS4as-4gh_0BasTx0qS7IhottKMY7bg7mIMJuX0nHFubJSOeFL_fIgPcpSA58S2sWy2aj2OvPiRWgbLcAJrYyYROB6nh47g7_Bf8_AIgEsADV1Bjjkq_MP0/s640/2.jpg" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Reconstrucción de la indumentaria de Ötzi. Fuente de la imagen: </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;"><a class="vglnk" href="http://www.age-of-the-sage.org/archaeology/otzi_the_iceman.html" rel="nofollow" style="color: #3f3980; text-decoration: none;">http://www.age-of-the-sage.org/archaeology/otzi_the_iceman.html</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="color: #3366ff;"><span style="font-size: large;">Adornos
y Joyas<o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="font-size: large;"><span lang="ES">Se piensa que hacia el 30000 antes de
Cristo los homínidos adornaban sus cuerpos con pendientes y collares, no sólo
como posibles talismanes para una caza fructífera, sino también como forma de
decoración. E incluso que pintaban y <b style="mso-bidi-font-weight: normal;">maquillaban</b>
sus cuerpos. </span><span lang="ES" style="mso-fareast-language: ES;">La <b style="mso-bidi-font-weight: normal;">pintura corporal</b> –como en los
aborígenes australianos- debía tener una parte importante en la indumentaria
como forma de ornamentación. <o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-size: large;">
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<span lang="ES"><span style="font-size: large;">Nuestro conocimiento de la<b style="mso-bidi-font-weight: normal;">
joyería</b> en la prehistoria depende casi enteramente de piezas que estaban
enterradas en las <b style="mso-bidi-font-weight: normal;">necrópolis</b> con sus
difuntos o escondidas durante tiempos de guerra. Inevitablemente, revelan sólo
una fracción de lo que pudo haberse llevado en este periodo. Y es que en la
Prehistoria, como también en la etapa de la Antigüedad, las joyas presentan con
frecuencia un valor simbólico-ritual <b style="mso-bidi-font-weight: normal;">apotropaico</b>
y de<b style="mso-bidi-font-weight: normal;"> prestigio</b> no exento del deseo
de adornar el cuerpo mediante objetos que consideraban <b style="mso-bidi-font-weight: normal;">bellos</b>. Formaban parte de los <b style="mso-bidi-font-weight: normal;">ajuares
funerarios</b> acompañando al difunto para la vida del más allá. Encontramos,
así, enterramientos “alhajados” con diademas, collares, anillos o brazaletes
realizados con piedras de colores, <b style="mso-bidi-font-weight: normal;">huesos
</b>y dientes de animales o conchas marinas. Andando el tiempo, estas tipologías
serán realizadas en <b style="mso-bidi-font-weight: normal;">oro,</b> <b style="mso-bidi-font-weight: normal;">plata</b> u otros metales.</span><o:p></o:p></span></div>
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<span lang="ES"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4qntBdm9-kQR0xQSMcWU1uyGdiHtO14xhhgvJd5APSvxSCsNsFnrJGbEq5ZEmEFOcKfAqHUZgFekFS1Tmoswa3qY7K1kSN3xBX9KDysiMM83ffBk9VlkP4G0BQZbDmO1YYr-OOFolQI/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="891" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4qntBdm9-kQR0xQSMcWU1uyGdiHtO14xhhgvJd5APSvxSCsNsFnrJGbEq5ZEmEFOcKfAqHUZgFekFS1Tmoswa3qY7K1kSN3xBX9KDysiMM83ffBk9VlkP4G0BQZbDmO1YYr-OOFolQI/s640/1.tiff" width="640" /></a></div>
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<span lang="ES" style="font-size: 9.0pt; mso-fareast-language: ES;">Enterramiento argárico de Herrerías, Granada.
Bronce Medio (hacia el 1500 a.C.). Museo Arqueológico Nacional;<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNrxFwfSrbiBVVHHpAoMNW0zrvvfbZbJTsUmBHn9DFhg784BueZ8OZnbm53WzvgSP1zb2VfnWkp0nxfFjU2VicrQ8Z5msTXys4fyrwe8JVWl0WlRWUaclUsfQWc5LPR4ExO4Gkwsrymg/s1600/1.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="913" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRNrxFwfSrbiBVVHHpAoMNW0zrvvfbZbJTsUmBHn9DFhg784BueZ8OZnbm53WzvgSP1zb2VfnWkp0nxfFjU2VicrQ8Z5msTXys4fyrwe8JVWl0WlRWUaclUsfQWc5LPR4ExO4Gkwsrymg/s640/1.tiff" width="640" /></a></div>
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<span lang="ES" style="font-size: 9.0pt;"> Collar de la Edad de Bronce; collar de un
neandertal con restos de policromía; brazaletes de la Edad de Bronce<o:p></o:p></span></div>
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<!--EndFragment--></div>
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<span lang="ES"><span style="font-size: large;">En adornos y joyas habría que esperar a Mesopotamia y Egipto para
encontrar diseños más elaborados, pero en la Edad de los Metales hay ya
ejemplos de un lujo y <b style="mso-bidi-font-weight: normal;">refinamiento</b>
muy sofisticado. Así por ejemplo, en Stonehenge (Inglaterra) –Edad de Bronce-,
donde se han hallado objetos cónicos a modo de botones realizados en azabache,
brazaletes de bronce ribeteados en oro,<span style="mso-spacerun: yes;">
</span>pendientes etc. <o:p></o:p></span></span></div>
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SABER MÁS</span></b></span></div>
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<span lang="ES"><span style="font-size: large;">Blog del profesor Pablo Pena http://historiadeltraje.blogspot.com<o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-size: large;">Sitio web del Museo de Evolución humana de Burgos
http://www.museoevolucionhumana.com/es<o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-size: large;">Sitio web de Atapuerca http://www.atapuerca.org<o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-size: large;">www.diariodeatapuerca.net</span></span></div>
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<span style="font-size: large;"><span lang="ES">Museo Arqueológico Nacional MAN: </span>http://www.man.es/man/home.html</span></div>
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<span style="font-size: large;">Joyería y orfebrería de la Prehistoria en Galicia, Lugo, 1996.
http://www.oocities.org/rainforest/1185/prog9596.htm</span></div>
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<span lang="ES"><span style="font-size: large;">Ötzi, el hombre que vino del hielo:
http://artpower-ana.blogspot.com/2015/09/la-indumentaria-en-la-prehistoria-otzi.html</span><o:p></o:p></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-38045814720437152412023-09-27T20:44:00.227+02:002023-09-27T22:31:58.569+02:000.1 INTRODUCCIÓN A LA HISTORIA DE LA INDUMENTARIA<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgisoQBTZ2iSWUXEn4kbpctb8vcjNFx9w0mxYrqdsmaQwGe6azm3697BWXri1Ys89Q7jEmoLR_8sbn3nd8Z6KwSChEoSvDA_B7gGxnpOnM0s6T2ZKwqCIep--x9xj4ALlrpSrect2tK_gZrCDSrcJ_Q3FVj8ZFXPFe4rsCusB-3DdgEIrZYQQEaFYYAyGI/s866/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="866" data-original-width="585" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgisoQBTZ2iSWUXEn4kbpctb8vcjNFx9w0mxYrqdsmaQwGe6azm3697BWXri1Ys89Q7jEmoLR_8sbn3nd8Z6KwSChEoSvDA_B7gGxnpOnM0s6T2ZKwqCIep--x9xj4ALlrpSrect2tK_gZrCDSrcJ_Q3FVj8ZFXPFe4rsCusB-3DdgEIrZYQQEaFYYAyGI/w432-h640/1.jpg" width="432" /> </a></div><br /><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><b>TEMA 1. INTRODUCCIÓN A LA HISTORIA DE LA INDUMENTARIA</b></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><b><br />El concepto de indumentaria. Indumentaria <i>versus</i> moda</b> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Al abordar el intrincado mundo de la indumentaria hemos de tener presente que trazar su <b>historia </b>es contar el relato del ser humano, puesto que está estrechamente relacionada con la cultura de un pueblo en una época determinada. Según el diccionario de la RAE, el término <b>indumentaria</b> que procede del vocablo latino “indumento”, significa en su primera acepción, “perteneciente o relativo al vestido” y en una segunda, “estudio histórico del traje”. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Debemos partir de la premisa de que el concepto de moda e indumentaria no son <i>stricto sensu</i> sinónimos y como afirma Carmen Abad-Zardoya es algo obvio que a menudo se pasa por alto. <br /></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">La palabra <b>moda</b> procede del francés mode y éste a su vez del latín <i>modus</i> -modo, medida, moderación- y también manera, en francés <i>façon, </i>que dará lugar a <i>fashion</i> en inglés. <i>Mode</i> fue un término acuñado en el siglo XVII en Francia, al menos, así aparece en sus diccionarios, y sorprendentemente se difundió por Europa, con sus equivalentes en otros idiomas, coetáneamente. Así por ejemplo, en español, la primera mención a esta palabra procede de un literato, Luis Vélez de Guevara en su novela <i>El diablo cojuelo</i> (1641). </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Hay que señalar que el concepto de moda es mucho más amplio y complejo que el de indumentaria. La RAE subraya que la moda tiene que ver con usos y costumbres en su primera acepción, sin aludir al vestir. De hecho, el Diccionario de María Moliner argumenta lo mismo, ya que puede darse moda en muchos aspectos como mobiliario o literatura… aunque también señala que “si no se especifica otra cosa, se entiende la moda en el vestido”. La segunda y tercera acepción de la RAE ya definen de forma muy concreta la moda, haciendo referencia a la vestimenta. <br /></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">La indumentaria es el traje o vestido, con sus diferentes tipologías y acepciones, que incluyen todo tipo de accesorios y complementos. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">La historia de la moda corre paralela a la del gusto colectivo de una sociedad, de una época, de un país, de una ciudad. Es el imperio de lo efímero, marcado por tendencias de naturaleza inconstante, que apuestan por lo nuevo y fugaz sin renunciar a revivals del pasado, aunque solo sea para negarlos.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"> </span><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fr4MU-fbLoY1Wueyw3VbPpMn7K9rTq58DvPF5VQOQqfQOuVgQYNi0b5vMVxSj6lp3aXU1ecS6KWu95SSRlSDxqgM3Mn7xQkiq7vzi6BnZJc0sY_4UOX784fTI5sQchS9BIQU73uF8qC5yH8qfOFW0Vp3P4Q780rq8WwFD_sDQ0o7tduMm2ct2pI13Ho/s669/Captura%20de%20pantalla%202023-09-27%20200904.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="669" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fr4MU-fbLoY1Wueyw3VbPpMn7K9rTq58DvPF5VQOQqfQOuVgQYNi0b5vMVxSj6lp3aXU1ecS6KWu95SSRlSDxqgM3Mn7xQkiq7vzi6BnZJc0sY_4UOX784fTI5sQchS9BIQU73uF8qC5yH8qfOFW0Vp3P4Q780rq8WwFD_sDQ0o7tduMm2ct2pI13Ho/w640-h452/Captura%20de%20pantalla%202023-09-27%20200904.png" width="640" /></a></span></div><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Así las cosas, podemos considerar que la moda en sentido lato, total, es eterna, ha existido desde la noche de los tiempos, porque siempre han surgido creadores de estilo y se han marcado tendencias. Ahora bien, en sentido estricto, los <b>orígenes de la moda</b> pueden cifrarse en distintos periodos históricos siendo sus tres grandes hitos: la Baja Edad Media y los siglos XVII y XIX. <br /></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">La mayoría de los historiadores coinciden en considerar que la moda en el vestir surgió en la Baja Edad Media, concretamente en el <b>siglo XIV,</b> en las cortes europeas. Apareció vinculada al surgimiento del traje anatómico que marcaba un claro dimorfismo sexual entre hombres y mujeres, coincidente con el incipiente capitalismo mercantil y el desarrollo de las ciudades. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Un segundo momento sería en el <b>siglo XVII</b>: surge el sistema de la moda vinculado a un monarca, el Rey Sol y a su corte versallesca. Luis XIV, árbitro de la moda, hará de París la capital hegemónica de la moda, la quintaesencia del lujo y la elegancia chic: es el <i>Grand Siècle.</i> Fue entonces cuando surgieron las temporadas en la moda, las primeras publicaciones dedicadas a las novedosas tendencias en el vestir como el <i>Mercure Galant</i>, mientras se difundían grabados y muñecas con las últimas tendencias, estas últimas desde Francia a las cortes europeas.</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX9-XYe3ToKyXldljqcLHNRN8ZslXkPF9uaL5DpVM_zATa-QAtibKn-oTIrKyhOBuk2dHEWlYxCkNYmrTFUvSMfrhOKe7J9fZmwXqCPS_Rep-xXxuBvDJL30gVQimsczbm1jjoMQeLB1uKw7q6j6UttWN-b_2xT-RBCsIItuFYJG0NMi94smhHxOTXCk/s690/Captura%20de%20pantalla%202023-09-27%20201421.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="690" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvX9-XYe3ToKyXldljqcLHNRN8ZslXkPF9uaL5DpVM_zATa-QAtibKn-oTIrKyhOBuk2dHEWlYxCkNYmrTFUvSMfrhOKe7J9fZmwXqCPS_Rep-xXxuBvDJL30gVQimsczbm1jjoMQeLB1uKw7q6j6UttWN-b_2xT-RBCsIItuFYJG0NMi94smhHxOTXCk/w640-h550/Captura%20de%20pantalla%202023-09-27%20201421.png" width="640" /></a></div><span style="font-family: arial; font-size: large;"><br />Y un tercer momento, y no menos importante, fue el <b>siglo XIX: </b>se suceden las tendencias a velocidad de vértigo, se consolida el auge de las revistas de moda y su difusión, surge la <i>Haute Couture</i> (Alta Costura) en París creación del diseñador inglés Worth, y se afianza la industria de la moda con el surgimiento de los grandes almacenes. La Revolución industrial en su vertiente textil hará el resto.</span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">La historia del traje puede y debe ser abordada desde múltiples perspectivas y desde <b>disciplinas </b>afines y complementarias. Lejos de ser simplemente un fenómeno frívolo o superficial, es un tema relevante para los antropólogos, así como para los historiadores de la moda y del arte, los economistas, los filósofos, los sociólogos, psicólogos o psicoanalistas.<br />Entre los grandes teóricos de la historia de la moda podemos destacar a James Laver, Georg Simmel o el psicoanalista J.C. Flügel, autor del texto canónico por excelencia, <i>Psicología del traje</i>. Es asimismo una cuestión tratada por intelectuales y literatos de la talla de Honoré de Balzac, Walter Benjamin, Charles Baudelaire, Pardo Bazán, Galdós, H.G. Wells o Sartre suscitando el interés de semiólogos como Umberto Eco u Omar Calabrese. </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLDchTlH07dYgRK7KykR2yo1vr44pRdP0fUsk9SXhOAWCQ-U9iMAwMcZDJsR4w6F2ucQvXC0SBfh9I7Fvn9l7Haq8clt-znAtzPUnhfNXlnrlOUa80er-wmZvrjt_Il1b3REhe7C10S8tan3SFW6CLlRnxTwF-YCFPVxiAElorlrE4lhBKMCtKWRHpLA/s677/Captura%20de%20pantalla%202023-09-27%20201707.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="677" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLDchTlH07dYgRK7KykR2yo1vr44pRdP0fUsk9SXhOAWCQ-U9iMAwMcZDJsR4w6F2ucQvXC0SBfh9I7Fvn9l7Haq8clt-znAtzPUnhfNXlnrlOUa80er-wmZvrjt_Il1b3REhe7C10S8tan3SFW6CLlRnxTwF-YCFPVxiAElorlrE4lhBKMCtKWRHpLA/w640-h330/Captura%20de%20pantalla%202023-09-27%20201707.png" width="640" /></a></div><span style="font-family: arial; font-size: large;"><br />La <b>variedad tipológica </b>en el caso de la indumentaria va vinculada al marco geográfico, clima, profesiones, épocas, creencias y costumbre, así como a la riqueza-pobreza de sus poseedores y de los materiales. </span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Los <b>materiales </b>determinan en numerosas ocasiones la tipología. Éstos han ido evolucionando y sofisticándose con el paso del tiempo. Históricamente, algunos han sido y son muy demandados, dando lugar a rutas comerciales para su difusión. Podemos distinguir entre materiales de origen natural sean de origen animal como la seda, la lana o el cuero o de origen vegetal, como el algodón o el lino o artificial como el poliéster. Por lo que se refiere a las pieles, las más apreciadas son las de armiño, lince, martas cibelinas, zorros, chinchillas y visones. En la actualidad el uso de las pieles suscita muchas controversias siendo su uso muy políticamente incorrecto.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFIrAT-RzvEKD_LWE6YVWr2ocyrFSBL5U9TpqrGCsyRN7HGSxV6UX5soE4BXEyCErBs1O1WANm3OfpZ1KamNSvG1sNeOzxP0FFmkiAVaifkRMCj6Rj8vGjsdgVtCW8OEJDUmC08no1eRBHFwVySeNwdVLyI8e9adMvzg__we5XipLOHL849Vmk9MFvhO4/s380/Captura%20de%20pantalla%202023-09-27%20202051.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="309" data-original-width="380" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFIrAT-RzvEKD_LWE6YVWr2ocyrFSBL5U9TpqrGCsyRN7HGSxV6UX5soE4BXEyCErBs1O1WANm3OfpZ1KamNSvG1sNeOzxP0FFmkiAVaifkRMCj6Rj8vGjsdgVtCW8OEJDUmC08no1eRBHFwVySeNwdVLyI8e9adMvzg__we5XipLOHL849Vmk9MFvhO4/w640-h520/Captura%20de%20pantalla%202023-09-27%20202051.png" width="640" /></a></div><span style="font-family: arial; font-size: large;">Los <b>vocablos</b> con los que denominamos a la indumentaria son complejos y variados, diferentes según las distintas épocas. Abundan sobre todo los anglicismos, pero también los galicismos e italianismos. Estos términos están en continuo cambio y evolución, y raro es el año en el que no se incorporan palabras nuevas, muchas veces ligadas a la música, tribus urbanas o al cine.<br />Hay que señalar que la vestimenta incluye también a los <b>accesorios</b> o complementos, de vital importancia según las épocas, como los guantes, el calzado, los sombreros, los abanicos, los bolsos, los chales, los paraguas y por supuesto, las joyas.</span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><br /><b>Función y significación</b></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><b> </b><br />La explicación <b>bíblica</b> de la necesidad del vestido como fruto de la vergüenza y pudor que sienten Adán y Eva por haber pecado está en la base de la negativa mentalidad judeo-cristiana sobre el cuerpo. La carne, junto con el mundo y el demonio, serían los monstruos a batir. De ahí la dualidad alma-cuerpo, como dos caras de la misma moneda, que por lo demás encontraremos en algunos filósofos y doctrinas filosóficas. La desnudez o la ropa considerada “inadecuada” es castigada severamente en muchos países del mundo, especialmente en los que impera la Sharía islámica.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapaULQb_fC5bj_s3HApDn39nkMMLt2UDO8C2Lw2T5adwBwWUpNo4wXETYm7vPZr4aKDQgNIMEb8JoB9sDLiIXSGROYBm9SCWdEJmQbQ_5-M87FJj7zcyihJbNpIpU2dwrsPdfMgBPItkuR5TlLRmalf2TJ9oIOgyrTKGlqkPjxEPSXkI0pzcqafLruFo/s687/Captura%20de%20pantalla%202023-09-27%20202425.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="687" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjapaULQb_fC5bj_s3HApDn39nkMMLt2UDO8C2Lw2T5adwBwWUpNo4wXETYm7vPZr4aKDQgNIMEb8JoB9sDLiIXSGROYBm9SCWdEJmQbQ_5-M87FJj7zcyihJbNpIpU2dwrsPdfMgBPItkuR5TlLRmalf2TJ9oIOgyrTKGlqkPjxEPSXkI0pzcqafLruFo/w640-h458/Captura%20de%20pantalla%202023-09-27%20202425.png" width="640" /></a></span></div><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Es claro que nos vestimos por diversas <b>razones</b>: para cubrirnos y enfrentarnos al clima (frío, lluvia, protección contra el viento, el sol, el sudor); por pudor y también para resultar atractivos para nosotros mismos y para los demás. La indumentaria es un poderoso instrumento de seducción. Pero la función y significación de la indumentaria traspasa lo meramente funcional y decorativo. <br />El vestido es una forma de <b>expresión</b> y comunicación no verbal muy personal y compleja: por un lado, subraya nuestra identidad, diferenciándonos de los demás, pero por otro lado nos liga a un grupo. Reflejo del <i>Zeitgeist</i>, el traje se configura así como un sistema de signos cuya descodificación informa a la sociedad de cómo somos, sentimos y pensamos. Lo que llevamos puesto nos delata: nuestros gustos, ideología, nivel económico, forma de sentir y ver la vida. Por la ropa podemos deducir la profesión, el grupo social, la zona de procedencia o las creencias religiosas. Somos como los “hombres jeroglíficos” a los que aludía Balzac que hay que interpretar a través de lo que llevamos puesto. <br />Por lo demás, la moda puede ser un instrumento desde el <b>poder </b>para perpetuar el orden social establecido -como prueban las leyes suntuarias- y lo contrario, puede socavar las estructuras sociales y sus privilegios, siendo fermento de cambios en las mentalidades. El poder se expresa mediante la magnificencia de los indumentos que portan reyes, emperadores y aristócratas. Las diatribas de escritores, moralistas y eclesiásticos contra la tiranía de la moda o determinados indumentos es una constante en la historia.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BfqqUoJFI-QajxBLd-3Y7dqWeJqMNDWye5uDGYj6lGBpKYDoUU5LSx3dGlLHcBG6hhECr9q8I8y8aIndmsX3d48FYBNu9bcA53KmvUx2QVSjPF9Orv4tVu4SyjZXXflqUt84mXJ1OnjD6gOZY7I5LQuo-I9WyEJhVf8ZhjqPFxfOaPq1nb34UR0rSVg/s709/Captura%20de%20pantalla%202023-09-27%20202851.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="709" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BfqqUoJFI-QajxBLd-3Y7dqWeJqMNDWye5uDGYj6lGBpKYDoUU5LSx3dGlLHcBG6hhECr9q8I8y8aIndmsX3d48FYBNu9bcA53KmvUx2QVSjPF9Orv4tVu4SyjZXXflqUt84mXJ1OnjD6gOZY7I5LQuo-I9WyEJhVf8ZhjqPFxfOaPq1nb34UR0rSVg/w640-h364/Captura%20de%20pantalla%202023-09-27%20202851.png" width="640" /></a></div><br /><span style="font-family: arial; font-size: large;">Por lo demás, la vestimenta no está exenta de connotaciones simbólicas y políticas como podemos observar en el Motín de Esquilache en España o en la Revolución francesa.</span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"></span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNI9lm8VRPhuifd3ALEup7eTkxRJACDR6lY2Ua7RSG8YIUFmOnCSiFd4lxj-2QJFwoK367RWR1WHvdiX1t3DuTToVxXxKWcfF2tw1joQzoHOC7TI2ZcJKy8wY1g6i2JjgRSj6tru_r8pVinuXXp7kO0e68-xlYMHlBDPsVZVzI57KsXhDUlE1vIUjPA4A/s606/Captura%20de%20pantalla%202023-09-27%20203044.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="263" data-original-width="606" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNI9lm8VRPhuifd3ALEup7eTkxRJACDR6lY2Ua7RSG8YIUFmOnCSiFd4lxj-2QJFwoK367RWR1WHvdiX1t3DuTToVxXxKWcfF2tw1joQzoHOC7TI2ZcJKy8wY1g6i2JjgRSj6tru_r8pVinuXXp7kO0e68-xlYMHlBDPsVZVzI57KsXhDUlE1vIUjPA4A/w640-h278/Captura%20de%20pantalla%202023-09-27%20203044.png" width="640" /></a></div><br /><span style="font-family: arial; font-size: large;">No ha sido ni es infrecuente que la vestimenta humana haya supuesto la agresión al propio cuerpo y no sólo a través de la incomodidad –con el uso de ciertas prendas como los corsés o los tacones de 12 cm- que ciertas formas de vestir reflejan sino a través de rígidos cánones estéticos que por diversos factores se han aplicado a los seres humanos. De hecho, cuando estudiamos la historia de la moda, tanto masculina como femenina, pero sobre todo la destinada a las mujeres, no podemos dejar de sentir un escalofrío al analizar la larga lista de diseños que durante siglos han <b>torturado </b>y tiranizado, hoy como ayer, a hombres y mujeres.</span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><br /><b>Arte y Moda</b><br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Tradicionalmente la historia de la indumentaria ha estado profundamente imbricada con la historia del arte, por eso podemos apreciar su mutua influencia a través de los siglos, siendo muy diferente según las distintas épocas y civilizaciones. Van unidas a los usos y costumbres sociales, son parte de nuestra cultura, de nuestra historia.<br />La historia del traje puede ser estudiada siguiendo criterios cronológicos y estilísticos, ya que es reflejo de los movimientos culturales de una época, en conexión siempre con el resto de las artes, la filosofía, la música o el cine. <br />Esta ligazón se ha hecho particularmente evidente en los <b>estilos </b>que inciden en la creación de un arte total que englobe todas las artes como el Barroco, el Rococó, el <i>Art Nouveau</i>, o el <i>Art Déco</i>. </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmD3-kwTGPE2nYImxKicvY5sIHjf_rqnxbWPG9B5Q9R63yD3o0SYEC34IhvVp7agL_0z88Aw9SiN73N-AmFFNDT-SALXvs2ptk8fKrxOV5f797ulf4HdRXoeRUjlBiy47AD-ikqnR9dWyV7KikgV7t6gGJCAPaqfwxgud0NJhrV-i6qKEHBCmwyTS5yEg/s731/Captura%20de%20pantalla%202023-09-27%20203636.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="731" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmD3-kwTGPE2nYImxKicvY5sIHjf_rqnxbWPG9B5Q9R63yD3o0SYEC34IhvVp7agL_0z88Aw9SiN73N-AmFFNDT-SALXvs2ptk8fKrxOV5f797ulf4HdRXoeRUjlBiy47AD-ikqnR9dWyV7KikgV7t6gGJCAPaqfwxgud0NJhrV-i6qKEHBCmwyTS5yEg/w640-h442/Captura%20de%20pantalla%202023-09-27%20203636.png" width="640" /></a></div><span style="font-family: arial; font-size: large;">El mundo de la moda es un ámbito privilegiado donde los diseñadores intentan innovar, sorprender y gustar, a partes iguales, dando rienda suelta a la creatividad. Los hay que han considerado la moda un arte -Vionnet o Paul Poiret- mientras que para Chanel era un oficio y para otros como Jean-Paul Gaultier, es una revolución cultural.<br />En el arte contemporáneo, muchos artistas estelares no han podido sustraerse al diseño de moda, desde zapatos –como Zaha Hadid- hasta vestuario de ballets, teatro y óperas como Dalí, Picasso o Néstor Martín Fernández de la Torre entre otros. Sin embargo, conviene recordar que la creación de indumentaria y sus accesorios requiere de no pocas habilidades técnicas, conocimiento de los materiales, patronaje… que no suele ser de interés o del alcance de muchos artistas, salvo excepciones.</span><p></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><br /><b>Fuentes para el estudio de la indumentaria</b></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><b> </b><br />Es evidente que las fuentes esenciales para el estudio de la indumentaria son las propias piezas, conservadas en museos y colecciones públicas y privadas.<br />Hay una gran laguna en el conocimiento de las artes textiles e indumentaria antiguas porque son escasas las que nos han llegado. En el caso de España son pocas las piezas conservadas anteriores al siglo XVII. Las prendas requieren unas condiciones especiales de conservación debido a su fragilidad y por eso muchas no han sobrevivido al paso del tiempo. <br />Las fuentes iconográficas, es decir, las que nos aportan las imágenes como pinturas, mosaicos o esculturas son de vital importancia. La pintura nos permite apreciar el color, diseño, texturas, como los mosaicos o las representaciones en vidrieras o incluso en vasos cerámicos. La escultura nos aporta la representación en tres dimensiones del vestido. <br />Asimismo son importantes todo tipo de documentos –inventarios, testamentarías, cartas- conservados en archivos y bibliotecas. <br />Por último, pero no menos fundamental, la literatura -como ya apuntamos anteriormente -y el cine nos ofrecen referentes muy interesantes sobre el apasionante mundo de la indumentaria y la moda.<br />Finalmente, es importante reseñar que cada vez son más frecuentes las exposiciones que fundaciones y museos dedican a la moda y sus complementos como la joyería. Se ha incrementado, además, de forma abrumadora el número y la calidad de libros y catálogos dedicados a estas materias así como los recursos en red.<br /><br /><br /><b>BIBLIOGRAFÍA</b><br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">ARNOLD, R. (2009): <i>Fashion. A Very Short Introduction</i>, Nueva York: Oxford University Press. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">ABAD-ZARDOYA, C. (2011): “El sistema de la moda. De sus orígenes a la postmodernidad”, <i>Emblemata, </i>nª 17, pp. 37-59. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">BOUCHER, F. (1967): <i>Historia del traje en Occidente. Desde los orígenes hasta la actualidad</i>. Barcelona: Gustavo Gili (GG moda). </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">COSGRAVE, B. (2000): <i>Historia de la moda. Desde Egipto hasta nuestros días.</i> Londres: Octopus Publishing Group, Ltd. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">DEJEAN, J. (2008), <i>La esencia del estilo. Historia de la invención de la moda y del lujo contemporáneo</i>, Nerea.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">GONZÁLEZ, M. et al (2014): <i>Los gustos y la moda a lo largo de la historia</i>. Valladolid: Ed. Universitarias de Valladolid.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">GRAU, F.-M. (1999): <i>Histoire du costume</i>, Colección Que sais-je?, Presses Universitaire de France. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">GUTIERREZ GARCÍA, M.A. (2005): <i>Literatura y moda: la indumentaria femenina a través de la novela española del siglo XIX. </i>Universidad de Murcia. Disponible en https://www.um.es/tonosdigital/znum9/estudios/literaturaymoda.htm#_ftn1 </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">LIPOVETSKY, G. (2002): <i>El imperio de lo efímero. La moda y su destino en las sociedades modernas.</i> 8.ª ed. Barcelona: Anagrama. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">MOLINER, M. (1988): <i>Diccionario de uso del español</i>. Madrid.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">RODRÍGUEZ GARABATOS, B., (2021): <i>Emilia Pardo Bazán y la moda.</i> A Coruña: Hércules de Ediciones.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">SIMMEL, (ed.2014): <i>Filosofía de la Moda. </i>Madrid: Casimiro Libros.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">TOUSSAINT-SAMAT, M. (1990): <i>Historia técnica y moral del vestido. 1. Las pieles,</i> Madrid: Alianza Editorial.</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">VV.AA (2019): “Moda. El arte de lo efímero”, <i>Revista Litoral</i>, nº 268. </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">VV.AA. (2011): ”Moda, el poder de las apariencias”, <i>Revista de Occidente,</i> nº 366. <br /><br /><br /><b>RECURSOS EN RED</b></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><b> </b><br />PENA, P. en Historia del Traje, “Introducción a la Indumentaria”. Disponible en http://historiadeltraje.blogspot.com.es/p/naturaleza-y-funcion-del-traje.html (Consulta: 1 de septiembre de 2022).</span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><br />PENA, P. en Historia del Traje, “El surgimiento del traje anatómico y la aceleración de la moda en el vestir”. Disponible en http://historiadeltraje.blogspot.com/2011/02/el-traje-en-la-edad-moderna.html (Consulta: 1 de septiembre de 2022)<br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">REAL ACADEMIA ESPAÑOLA: Diccionario de la lengua española, 23.ª ed., [versión 23.5 en línea]. <https://dle.rae.es> (Consulta: 1 de septiembre de 2022).<br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">ROSILLO, B. en Arte y demás historias, “La indumentaria según Balzac” . Disponible en https://barbararosillo.com/2020/05/08/la-indumentaria-segun-balzac/ (Consulta 25 de septiembre 2022) <br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Vestimos cultura. Google Arts & Culture. Disponible en https://artsandculture.google.com/project/we-wear-culture (Consulta: 24 de septiembre 2022) </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;"><br /><b>LISTA DE ILUSTRACIONES </b><br /> </span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Portada. Alonso Sánchez Coello, <i>Retrato de Don Juan de Austria.</i> 1559-60. Fuente de la imagen: Wikimedia.<br /></span></p><p style="text-align: justify;"><span style="font-family: arial; font-size: large;">Figura 1. Procede de la serie de Carle Vernet "Incroyables et Merveilleuses", 1793. Fuente de la imagen: Wikipedia dominio público.<br />Figura 2. Fuente de la imagen: Museo del Traje. 1750-1800<br />Figura 3. F. X. Winterhalter, Retrato de la emperatriz Eugenia de Montijo en vestido de gala c. 1853. Museo de Orsay de París. Fuente de la imagen: Wikipedia, dominio público.<br />Figuras 4 y 5. Joaquín Sorolla, Emilia Pardo Bazán, c.1913 y el mismo autor retrató a don Benito Pérez Galdós, Casa-Museo Galdós en Las Palmas de Gran Canaria. Fuente de la imágenes: Wikipedia, dominio público.<br />Figura 6. Campaña de Peta contra el uso de las pieles, 1990. Fuente de la imagen:http://citizensluts.com/id-rather-go-naked-than-wear-fur-2/<br />Figura 7. Masaccio, La expulsión de Adán y Eva del paraíso, 1426-1428, alterado en 1680 con el añadido de las hojas y restaurado en 1980. Fuente de la imagen: Wikipedia, dominio público.<br />Figura 8. La femme du sans-culotte, estampa, Museo Carnavalet, c.1792. Fuente de la imagen: Wikipedia, dominio público<br />Figura 9. Detalle de Sans-culottes en armes, gouache de Jean-Baptiste Lesueur, 1793-1794, Museo Carnavalet.Fuente de la imagen: Wikipedia, dominio público.<br />Figura 10. Mujer de una tribu de Etiopía con escarificaciones en el pecho y el brazo izquierdo, expansiones en los lóbulos y plato labial. Fuente de la imagen: Wikipedia, dominio público.<br />Figura 11. Francisco de Zurbarán, Santa Casilda, c. 1635, Museo Thyssen de Madrid. Fuente de la imagen: Wikipedia, dominio público.<br />Figura 12. Portada de la revista francesa Les Modes de febrero de 1935. Fuente de la imagen: https://gallica.bnf.fr</span> <br /></p><p style="text-align: justify;"><br /></p>
<div style="text-align: center;"><iframe frameborder="0" height="400" marginheight="0" marginwidth="0" scrolling="no" src="https://www.slideshare.net/slideshow/embed_code/key/KxkaF40Ics2c63?hostedIn=slideshare&page=upload" width="476"></iframe></div>Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-14421658389854837632023-09-27T19:50:00.000+02:002023-09-27T19:50:48.934+02:00PRETEST SOBRE ARTE Y DISEÑO. IDENTIFICA Y COMENTA LAS SIGUIENTES IMÁGENES. ACTIVIDAD PARA "HISTORIA DE LA INDUMENTARIA I"<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3elAlYK9hACl2W5gk7umVrnyVNRgsUmEKIL1RfRqCz3GakOVVc-QsYFl1bw6Mf2_0pEclP0cQdMRgnXO8ArvvAuHiIIzpPKS7jQN-HJNkdbkrSYtzje4T15LAGsplWlR_0S6u0DFKQYQ/s498/Screenshot+2020-09-25+at+09.10.05.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="494" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3elAlYK9hACl2W5gk7umVrnyVNRgsUmEKIL1RfRqCz3GakOVVc-QsYFl1bw6Mf2_0pEclP0cQdMRgnXO8ArvvAuHiIIzpPKS7jQN-HJNkdbkrSYtzje4T15LAGsplWlR_0S6u0DFKQYQ/w634-h640/Screenshot+2020-09-25+at+09.10.05.png" width="634" /></a></div><br /><p></p><p style="text-align: center;"><br /></p>
<div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="485" marginheight="0" marginwidth="0" scrolling="no" src="//www.slideshare.net/slideshow/embed_code/key/uuvbkOQZnSHxcE" style="border-width: 1px; border: 1px solid #CCC; margin-bottom: 5px; max-width: 100%;" width="595"> </iframe></div><div style="margin-bottom: 5px; text-align: center;"> <strong> <a href="//www.slideshare.net/anagalvan/pretest-deteccin-ideas-previas-arte-y-diseo" target="_blank" title="PRETEST: DETECCIÓN IDEAS PREVIAS ARTE Y DISEÑO">PRETEST: DETECCIÓN IDEAS PREVIAS ARTE Y DISEÑO</a> </strong> from <strong><a href="https://www.slideshare.net/anagalvan" target="_blank">ANA GALVAN ROMARATE-ZABALA</a></strong> </div>Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-84457063003363854222023-09-25T17:28:00.000+02:002023-09-25T17:28:55.857+02:00ACTIVIDAD DE REPASO "HISTORIA DE LA INDUMENTARIA I": IDENTIFICA, ANALIZA Y COMENTA LAS SIGUIENTES IMÁGENES<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyqnJiLEe_1iEJBCz0aVd7gh3WUp8laY2CmGxwGLzr5mKh5Jdg8TS8sfiQgccIu2bMoC65LP68-AF9dh1p8IW6lNDTqTHmF2UFmymzSXYK7PQclAGYD5URYaOIONdPo0FYYpe37w5D5s/s754/Screenshot+2020-09-25+at+09.00.26.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="754" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyqnJiLEe_1iEJBCz0aVd7gh3WUp8laY2CmGxwGLzr5mKh5Jdg8TS8sfiQgccIu2bMoC65LP68-AF9dh1p8IW6lNDTqTHmF2UFmymzSXYK7PQclAGYD5URYaOIONdPo0FYYpe37w5D5s/w640-h416/Screenshot+2020-09-25+at+09.00.26.png" width="640" /></a></div><p style="text-align: center;"><br /></p>
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<tr><td class="tr-caption" style="text-align: center;"><span><br /><div style="text-align: center;"><span style="font-family: verdana;">Banksy, <i>Girl with a red balloon.</i> Fuente de la imagen: http://culturainquieta.com/es/inspiring/item/12215-banksy-parece-que-al-fin-se-ha-descubierto-su-identidad.html</span></div></span></td></tr></tbody></table></div><span style="font-family: verdana;"><br /></span><div style="text-align: justify;"><span style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif" style="font-family: verdana;">Bienvenidos al curso 2023-24 y en concreto a las materias <i>Historia de la Fotografía, Historia de la Imagen Audiovisual y Multimedia, Historia de la Imagen Publicitaria </i><i>e Historia de la Indumentaria</i><i>.</i></span></span></div><div style="text-align: justify;"><span style="font-family: verdana; font-size: x-large;">Nos enfrentamos a un nuevo curso muy complejo, lleno de retos, ilusiones y esperanzas, que ojalá, sean fructíferas. </span><br />
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</span><div style="text-align: justify;"><span style="font-family: verdana; font-size: x-large;">Para cualquier consulta, duda y sugerencia podéis escribirme a mi dirección de correo electrónico <b>agalvan@eagrancanaria.com</b></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-67359507803683521612023-09-03T10:49:00.002+02:002023-09-03T10:55:27.587+02:00TEJIDOS DE LOS PAÍSES BAJOS. MODA Y PINTURA EN EL SIGLO XVII <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoACrZjnA5tzYiAaTzW55tWo9x3Yr6of0DL60q2VbD-ALe65M8hFWb3HmSNf4LbZkuabJyOSp-FRGWr4AXiJJ4uo44hdTguK-89gz0wNgjA54A5Fher9Dgj8aDuPh-dHjiUiSIC-xIa25PdssfNSFloowIn0tMjjTuRQDwWHQHl9JH5J4eW7mxWoA3E-g/s800/6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="734" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoACrZjnA5tzYiAaTzW55tWo9x3Yr6of0DL60q2VbD-ALe65M8hFWb3HmSNf4LbZkuabJyOSp-FRGWr4AXiJJ4uo44hdTguK-89gz0wNgjA54A5Fher9Dgj8aDuPh-dHjiUiSIC-xIa25PdssfNSFloowIn0tMjjTuRQDwWHQHl9JH5J4eW7mxWoA3E-g/w488-h734/6.jpeg" width="488" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">¡Saludos!</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">La colaboración de tres instituciones museísticas francesas, el Museo Tessé de Le Mans y los de Bellas Artes de Tours y Angers, ha posibilitado la organización de una interesante muestra itinerante sobre Moda y Pintura en los Países Bajos del siglo XVII. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Su título original es </span><span style="font-family: arial;"><span style="font-size: x-large;"><i>L´ettofe des Flamands. Mode et peinture au XVII siècle.</i></span></span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpoftNyR2LFGX1arhjh5CjMuw8Q5F3VwN-MgbpSVnSKUkIbZ_lIsl2ADXkFg_k8r0OKvc5bTFdNtTUpO0EOgRxmbZfXnVF4gGn2aSkSL796vF-qOi35xwFW8pT1JepCvcypTFGqqY2DYJT4R67q0yroHxvM4D9zdQ71tsglLQJf3eLXWRDEuCpy3ji_aI/s4000/1692898939964.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpoftNyR2LFGX1arhjh5CjMuw8Q5F3VwN-MgbpSVnSKUkIbZ_lIsl2ADXkFg_k8r0OKvc5bTFdNtTUpO0EOgRxmbZfXnVF4gGn2aSkSL796vF-qOi35xwFW8pT1JepCvcypTFGqqY2DYJT4R67q0yroHxvM4D9zdQ71tsglLQJf3eLXWRDEuCpy3ji_aI/w641-h482/1692898939964.jpg" width="641" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmiLJhT0dPx8MF4wKl7WZMy5HHcuYEQC3Xr_nSiPl2AA5eH0R8-hLByIQ7w6gSePhc0jSrsZmo_bM6GT-003GhJvor4_Lqn4mvfNBKzGWcG58pKopR2JXoUjjRr5XGBM-vZBVfhCxkiFVnarPbe3HHVBj7dvxiecTglLbTIjp5GDBsAJvg4D0i5EE7SE/s764/museotours.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="764" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmmiLJhT0dPx8MF4wKl7WZMy5HHcuYEQC3Xr_nSiPl2AA5eH0R8-hLByIQ7w6gSePhc0jSrsZmo_bM6GT-003GhJvor4_Lqn4mvfNBKzGWcG58pKopR2JXoUjjRr5XGBM-vZBVfhCxkiFVnarPbe3HHVBj7dvxiecTglLbTIjp5GDBsAJvg4D0i5EE7SE/w522-h410/museotours.jpeg" width="522" /></a></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSC5Zyl0vaXq8TUZmlbRGcQyxFGopXO7_GofU0wHyJ00qY2rpvSFkvNESysq1aK_fwSgHiyhN38_9oUttDwhXlSrDJ6DfnsOF3PP1mqg4xn-OXlKQ_EwMXGJ4v6b-SMoFgVV6FCUdWesTxoqHRijmIXRhgc7LKCtdsnnwuEUaRCXsOwmW5mCWvdQS6-ik/s4000/1692464843218.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSC5Zyl0vaXq8TUZmlbRGcQyxFGopXO7_GofU0wHyJ00qY2rpvSFkvNESysq1aK_fwSgHiyhN38_9oUttDwhXlSrDJ6DfnsOF3PP1mqg4xn-OXlKQ_EwMXGJ4v6b-SMoFgVV6FCUdWesTxoqHRijmIXRhgc7LKCtdsnnwuEUaRCXsOwmW5mCWvdQS6-ik/w386-h514/1692464843218.jpg" width="386" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Imágenes del Museo de Bellas Artes de Tours con una imponente chimenea de época Luis XIII. En este museo se puede contemplar esta exposición hasta el próximo 2 de octubre de 2023. Posteriormente, se exhibirá en el Museo de Bellas Artes de Angers desde junio hasta septiembre de 2024.</span></div><br /><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Pinturas, dibujos y grabados de moda se confrontan con documentos históricos como cartas de intercambios comerciales, facturas, inventarios, muestras -<i>échantillons</i>- textiles, indumentos y otros objetos así como accesorios de moda, revelando así a la indumentaria como un espejo y vector esencial para conocer una época y su sociedad. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDz74yl8devC1ePt0q5RPaq2C0zv6aXQSxBWESO1W7g8riwxh3pgWbczbNSwph2zfQnfJ9iNr29_lnV9k1LJ2_A-w-NxUjrHYcVILzlgUsrajJNHFiboVmQQ7f6G8AY1PTagCiFycQ0krs8jXFf4m9wrHzJRuEz25PtqPFE_-mCN5jEoqY1a-zzkmwSc/s3047/1693331369166.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2805" data-original-width="3047" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDz74yl8devC1ePt0q5RPaq2C0zv6aXQSxBWESO1W7g8riwxh3pgWbczbNSwph2zfQnfJ9iNr29_lnV9k1LJ2_A-w-NxUjrHYcVILzlgUsrajJNHFiboVmQQ7f6G8AY1PTagCiFycQ0krs8jXFf4m9wrHzJRuEz25PtqPFE_-mCN5jEoqY1a-zzkmwSc/w494-h455/1693331369166.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Guantes matrimoniales de Cornelia Fagel, 1637. Museo de Amsterdam. En el siglo XVII, para ser honorable, una mujer de un grupo social elevado debía casarse. La soltería no era una opción. Un accesorio simbolizaba ese estatus: los guantes de boda. Ofrecidos por el novio a su futura esposa, eran utilizados durante la celebración nupcial: la esposa se quitaba el guante en los esponsales, dando la mano a su esposo, como signo de fidelidad conyugal. Estos suntuosos guantes de cuero con bordados de seda, perlas e hilos dorados, presentan motivos decorativos muy simbólicos: claveles (amor y matrimonio) y violetas (virginidad y humildad). Fuente de la imagen https://www.arts-in-the-city.com/2022/10/13/letoffe-des-flamands-lexposition-melant-mode-et-peinture-au-musee-de-tessee/</span></div><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFHCM8_CdCOVRl47enUo6H4u57ML-TyqIHEfMkRDiiWraSSTvXPXa7jNymHpsz8YHR8kol4kysejgaD4vhfrIbAYgjQCSxvCfc5E5ZRTiCxxZfIMx2HN2KzYjcgS1va214LwDefXKnBRVH7lBO1VruHQkFLCbDm25QlLyKBGM4ZiMUB6nSWBCTI71c10/s500/7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="487" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFHCM8_CdCOVRl47enUo6H4u57ML-TyqIHEfMkRDiiWraSSTvXPXa7jNymHpsz8YHR8kol4kysejgaD4vhfrIbAYgjQCSxvCfc5E5ZRTiCxxZfIMx2HN2KzYjcgS1va214LwDefXKnBRVH7lBO1VruHQkFLCbDm25QlLyKBGM4ZiMUB6nSWBCTI71c10/w409-h420/7.jpeg" width="409" /></a></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Factura con ocho <i>échantillons</i> o muestras de lana de Leyden, 1688. Museo de Lakenhal, Leyden.</span><span style="font-family: arial; font-size: medium;"> Fuente de la imagen https://colorants.hypotheses.org/4351</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">La exposición nos evoca la moda del siglo XVII en los Países Bajos, </span><span style="font-family: arial; font-size: x-large;">centrándose
más en la protestante Holanda y menos en la católica Flandes, en aquel
entonces bajo el dominio español de los Habsburgo. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-large;"> </span><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtgc1-vocvUu2O5s7vXRmzEQ6G_XonC-odlMOsWufg3G74ZiXeJ2BaJIn6z2folH0pYSfuZNoxq-PV-26zZgoOIIbYUCzhEWquTN708REA-LTrike2sUmL9_xW_hqcC25cFwWVu3ZSpoaTvGvobo29q98AuBJH4csL3ZG_k4AEALknd74xUWCn2XSGcU/s491/Captura%20de%20pantalla%202023-08-28%20a%20las%2020.46.08.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="419" height="601" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFtgc1-vocvUu2O5s7vXRmzEQ6G_XonC-odlMOsWufg3G74ZiXeJ2BaJIn6z2folH0pYSfuZNoxq-PV-26zZgoOIIbYUCzhEWquTN708REA-LTrike2sUmL9_xW_hqcC25cFwWVu3ZSpoaTvGvobo29q98AuBJH4csL3ZG_k4AEALknd74xUWCn2XSGcU/w514-h601/Captura%20de%20pantalla%202023-08-28%20a%20las%2020.46.08.png" width="514" /> </a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"> </span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Escuela holandesa, <i>Mujer sentada en un sillon sosteniendo un libro,</i> 1633. Fuente de la imagen: Museo del Louvre</span></div><div class="separator" style="clear: both; text-align: justify;"><br /></div></div><p><span style="font-family: arial; font-size: x-large;"><b>La importancia de las fuentes iconográficas <br /></b></span></p><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Las fuentes iconográficas son vitales para analizar cómo era la moda de esa época. Nos evidencian la rica realidad social, económica y cultural de los Países Bajos en el siglo XVII.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Como
afirma la historiadora Alexandra Bosc en el catálogo de esta exposición, nuestra percepción de la moda neerlandesa del siglo XVII
procede en gran parte -por no decir totalmente- del prisma que nos ha
dejado la pintura. Así se nos revela en los retratos de aristócratas refinados; burgueses vestidos austera y elegantemente de negro
con sus imponentes golas -<i>fraises</i>-; escenas de vida cotidiana en interiores o del pueblo llano con sus ropas raídas apreciables en las </span><span style="font-family: arial; font-size: x-large;">pinturas de género (trabajo y ocio rural).</span><span style="font-family: arial; font-size: x-large;"> </span><span style="font-family: arial; font-size: x-large;">Desafortunadamente, son muy escasos los vestigios materiales de indumentos y accesorios conservados de esa época. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En esta muestra podemos encontrar </span><span style="font-family: arial; font-size: x-large;">reproducciones de indumentos creados especialmente para la ocasión a partir de
cuadros y documentos de ese periodo.<br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b>Modas y estatus social </b></span><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En
el siglo XVII, la indumentaria que llevaban las élites neerlandesas se
inspiraban en las modas extranjeras: primero españolas y después,
francesas. Entre 1600-1625 la moda del "traje a la española", de
vigencia incontestable en buena parte del siglo XVI, inspiró su
indumentaria que fue suplantada a partir de 1625 por la más colorista
moda francesa, auspiciada por los aristócratas galos. Estas tendencias
se difundieron por Europa gracias al envio de prendas o incluso de
"muñecas o maniquíes de moda" que hacían la promoción de las últimas
novedades.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En
una sociedad fuertemente jerarquizada como era la del Antiguo Régimen,
cada uno se vestía según su estatus social. En suma, se era lo que se
aparentaba: ver y ser visto. </span><span style="font-family: arial; font-size: x-large;">Era, hoy como ayer, un auténtico signo exterior de riqueza. <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Los "regentes" o gobernantes vinculados a la burguesía holandesa, así como los aristócratas de otros países, no escatimaban en gastos en sus
indumentos con lujosos encajes o exquisitas sedas. Aunque en Holanda no existian leyes
suntuarias estos excesos de la moda eran fustigados por
predicadores-moralistas de todo pelaje, tanto protestantes como
católicos. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRx1NsZ-LTuI-Cb5rE5RPmo1qtT4Dmu6n-myTqg5MTWcjoReOQysFk0lUIfk9tF8dT9BR5E4Vkgvze8N2rEKQh3Zv8Q5S6lqUs7VkAfbokyFFq_1jJInW29E2vEn4--d4oNn7QxmPsEYZzBM07M2LabhK-MIHO5i9W9ABQFeF7kss0HXXO2bXk5mQwkI/s572/0_L'archiduc_Albert_de_Habsbourg_-_Frans_Pourbus_le_Jeune_(1).jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="320" height="921" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRx1NsZ-LTuI-Cb5rE5RPmo1qtT4Dmu6n-myTqg5MTWcjoReOQysFk0lUIfk9tF8dT9BR5E4Vkgvze8N2rEKQh3Zv8Q5S6lqUs7VkAfbokyFFq_1jJInW29E2vEn4--d4oNn7QxmPsEYZzBM07M2LabhK-MIHO5i9W9ABQFeF7kss0HXXO2bXk5mQwkI/w515-h921/0_L'archiduc_Albert_de_Habsbourg_-_Frans_Pourbus_le_Jeune_(1).jpeg" width="515" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;"><span>Frans Pourbus el Joven, </span><span><i>Retrato del archiduque Alberto de Austria </i>(1559-1621), gobernador (1595-1598) y después soberano de los Paises Bajos españoles (1598-1621). C. 1599. </span></span><span style="font-family: arial; font-size: medium;">El
archiduque Alberto, esposo de la hija predilecta de Felipe II, Isabel Clara Eugenia, posa aquí como jefe
del ejército. Su lujosa armadura está realizada con damasquinado -método
que permitía finas decoraciones de oro y plata-. Porta un baston de
mando o cetro y el collar de la orden del Toisón de oro, orden de
caballería de los Habsburgo. La indumentaria del archiduque revela todavía la moda del
siglo XVI, con sus grandes greguescos. </span><span style="font-family: arial; font-size: medium;"><span>Fuente de la imagen: Wikipedia.</span></span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;"><span> </span></span></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Iomn5HT_ZUe4JAj2TgNpApJg9JGE3sIu9C0HedT2MhAe-Wgwqux4QHmmvURnvnNsLJyxLiEwbSDh5HIay4oN4_DSva1uffmtX36v9nmviwFeVslhuoMeakRm6XgWr0AXunLC4zvWo_V8uH50383SNeItHRGg8-R3qYo_zmGgohQCJB2xzta4dxAwu10/s2000/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1206" height="772" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Iomn5HT_ZUe4JAj2TgNpApJg9JGE3sIu9C0HedT2MhAe-Wgwqux4QHmmvURnvnNsLJyxLiEwbSDh5HIay4oN4_DSva1uffmtX36v9nmviwFeVslhuoMeakRm6XgWr0AXunLC4zvWo_V8uH50383SNeItHRGg8-R3qYo_zmGgohQCJB2xzta4dxAwu10/w466-h772/1.jpg" width="466" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKtn6IWrEHWfXZdvpe9fLYmn5cwBHna2s1FAMJMgMU6K3crlFz6AjYOH_ypooGCb4s_WLng0tSNjo7mQ7U_8MNsPE5X3djKdAZiLQX6nPqv13D5fiV0WkSNBwYsZnK86VXrXRqaD_MVd0j6KOH7cZnkguYU1qAYfql0yFRcZqYs9fTJctHENK0ymZTMWo/s1024/8.jpeg" style="margin-left: 1em; margin-right: 1em;"> </a> <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKzFxpjwB4vDoY1Ae7E3guySmBD9xxNgKrnFybB6KF2LI2jRizgoA2iTVQnpnGYh6Lcp03gymfiM53-UTXoY-x2izMeTFH8zcuY3fJzqE3JI2uofeuQnYdmG60BfRf8qg0HJtFgY7qXpsAH4WdkP_qBWM8lNihcAAWq389gSRSM9ilGTvd6oGSe8eaV0/s599/419px-Isabella_Clara_Eugenia_of_Spain_-_Frans_Pourbus_II.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="419" height="706" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKzFxpjwB4vDoY1Ae7E3guySmBD9xxNgKrnFybB6KF2LI2jRizgoA2iTVQnpnGYh6Lcp03gymfiM53-UTXoY-x2izMeTFH8zcuY3fJzqE3JI2uofeuQnYdmG60BfRf8qg0HJtFgY7qXpsAH4WdkP_qBWM8lNihcAAWq389gSRSM9ilGTvd6oGSe8eaV0/w495-h706/419px-Isabella_Clara_Eugenia_of_Spain_-_Frans_Pourbus_II.jpg" width="495" /></a></div></div><div class="separator" style="clear: both; text-align: center;"> </div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"><span style="text-align: left;"><span>Frans (II) Pourbus, <i>Retrato de la archiduquesa Isabel Clara Eugenia</i>, soberana (1598-1621) y después gobernadora de los Países Bajos españoles (1621-1633). C. 1603. Aparece con la rígida silueta troncocónica del "traje a la española", con un gran cuello de blonda denominado " lechuguilla punteada" y exquisitas joyas. El peinado es de alto copete adornado con diadema de forma puntiaguda, característico de las damas cortesanas y típicamente español. Fuentes de las imágenes: https://www.rct.uk/sites/default/files/256517-1473682819.jpg y Wikipedia.<br /></span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"><span style="text-align: left;"><span> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">La
indumentaria en el siglo XVII era un bien de consumo costoso. </span><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Muy
codiciados, eran frecuentemente robados: 40% de los robos cometidos en
Amberes eran textiles e indumentos. Y es que una buena parte de la población no tenía medios para sufragarse sus propia indumentaria, que no pasaba de ser ropa muy simple, destinada a la protección contra los elementos, lejos de cualquier exigencia de moda o adorno.</span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Los
menos favorecidos económicamente se contentaban con indumentarias
modestas y toscas, para poder conservarlas el mayor tiempo posible.
Compradas a ropavejeros, su guardarropa era muy restringido y se
componía de trajes sencillos con telas resistentes como cáñamo, lana o lino de baja calidad </span><span style="font-family: arial; font-size: x-large;">y si eran tintados, de colores apagados y baratos.</span><span style="font-family: arial; font-size: x-large;"> </span><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En
los centros urbanos, los más pobres y vulnerables -personas de edad
avanzada, enfermos, huérfanos, etc. -se beneficiaban de donaciones
realizadas por instituciones caritativas. </span><span style="font-family: arial; font-size: x-large;">A modo de economía circular, cuando los materiales eran ya inservibles como indumentos se "reciclaban" para producir papel. <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Los zapatos de cuero eran un lujo.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b></b></span></div><span style="font-family: arial; font-size: medium;"><span style="text-align: left;"><span> </span></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"><span style="text-align: left;"><span> </span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE9os27ccOVAV-qpHwMKvROesWxO7w176BXFbcfWAm-2sPH28MKwVJRFPODtwvSH8H8vQDgBZDGUrCUFyAOLpIzASquwKbgtSOfAjesf6F7a4T-aA8Gqb0gqXHmB192Wo6VgAQScFUvZWVfwhnQZ3bf64FvBVQVbI5OL_MAcun_5RrpHvRyzK__bY1eag/s600/La_Fuite_en_E%CC%81gypte_Rembrandt_Tours.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="554" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE9os27ccOVAV-qpHwMKvROesWxO7w176BXFbcfWAm-2sPH28MKwVJRFPODtwvSH8H8vQDgBZDGUrCUFyAOLpIzASquwKbgtSOfAjesf6F7a4T-aA8Gqb0gqXHmB192Wo6VgAQScFUvZWVfwhnQZ3bf64FvBVQVbI5OL_MAcun_5RrpHvRyzK__bY1eag/w486-h526/La_Fuite_en_E%CC%81gypte_Rembrandt_Tours.jpeg" width="486" /></a></span><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Este cuadro de Rembrandt es una de las obras maestras del Museo de Tours. Rembrandt, <i>La huida a Egipto</i>, 1627. Museo de Bellas Artes de Tours. Fuente de la imagen: Wikimedia Commons</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYO5p_xfUe3aOUpDEUD1M_F5dm5PKkxNETiXaf9w6JCxkeCXX1z9G-2eB9aSgRmzs18lZWSZlDlLUjhazvuSlJEHi96GCvcPTXxz53htMcVHijNtTCwBr5aj5As_-VIprciusyGpSqUVdSKu9437S5mDVA9PAyxsESxQkWTeR44hT0zsBMQvwOcIhkDw/s920/le_chirurgien67009.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="920" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaYO5p_xfUe3aOUpDEUD1M_F5dm5PKkxNETiXaf9w6JCxkeCXX1z9G-2eB9aSgRmzs18lZWSZlDlLUjhazvuSlJEHi96GCvcPTXxz53htMcVHijNtTCwBr5aj5As_-VIprciusyGpSqUVdSKu9437S5mDVA9PAyxsESxQkWTeR44hT0zsBMQvwOcIhkDw/w656-h491/le_chirurgien67009.jpeg" width="656" /></a></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">David (III) Rijckaert, <i>El cirujano</i>, 1638. Museo de Bellas Artes de Valenciennes. Fuente de la imagen: https://en.muzeo.com/art-print/le-chirurgien/david-ryckaert-the-younger</span><span style="font-family: arial; font-size: x-large;"><span style="font-size: medium;">. En esta pintura de género holandesa apreciamos la pobreza de los indumentos, raídos y con rotos. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><span style="font-size: medium;"> </span> <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><div class="separator" style="clear: both;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA7nx2iX_cn-Pf1-unq_7N-Yzus9QdhWE6GnR2WF56621k37jv8HWYdoN428yNKye2QN6FIy40FBB7xeE0CTWZ4IWX9CmUjjPyXOS-A50exfA7C5TdOpfh3kBs6GyCfJPWvrtAjs-z0j-640nxt0mqeIbslLTox5Ul08t2FA724whvHid5i3_rwSeaRDA/s5870/BK-KOG-1280-1-A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4079" data-original-width="5870" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA7nx2iX_cn-Pf1-unq_7N-Yzus9QdhWE6GnR2WF56621k37jv8HWYdoN428yNKye2QN6FIy40FBB7xeE0CTWZ4IWX9CmUjjPyXOS-A50exfA7C5TdOpfh3kBs6GyCfJPWvrtAjs-z0j-640nxt0mqeIbslLTox5Ul08t2FA724whvHid5i3_rwSeaRDA/w628-h436/BK-KOG-1280-1-A.jpg" width="628" /></a></span></div></span></div><span style="font-family: arial; font-size: x-large;"><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;">Mules, Holanda, c. 1600-1650. Rijksmuseum, Amsterdam. Fuente de la imagen: Rijksmuseum</span><span style="font-family: arial; font-size: medium;"> </span><b><br /></b></div><div class="separator" style="clear: both;"><b> </b></div><div class="separator" style="clear: both;"><b>El siglo XVII, el Siglo de Oro holandés</b><br /></div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;">Entre las grandes potencias económicas y culturales del siglo XVII se alzan sin duda, los Países Bajos.<span style="font-family: arial; font-size: x-large;"> La
rica república de emprendedores burgueses de las Provincias Unidas vivió su máximo esplendor, su edad de oro,
en el siglo XVII.</span> <br /></div><div class="separator" style="clear: both;">Conviene recordar que Amsterdam fue una metrópoli capital en el el comercio mundial. Ello fue debido a la hegemonía de su comercio. </div><div class="separator" style="clear: both;"> </div></span><div style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><div class="separator" style="clear: both;"> <span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihnFWSP65zbgdCuAFqfDJxmX3q6mwayuueayYweKRnsx8KWLadCmLUqPriWR5MVkEaCqurJpRB_MH8HfHlHcet8sA8fRVl_GAzkKt7xz5QD4Cpli5ftZvZriXMd9QOgFezOMq5i3jolIY54sVzCNPilR_cs5BPwYXL1Ew_3qL6LqFaS_51-4CJnebl3E/s795/Captura%20de%20pantalla%202023-08-29%20a%20las%2011.18.15.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="795" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihnFWSP65zbgdCuAFqfDJxmX3q6mwayuueayYweKRnsx8KWLadCmLUqPriWR5MVkEaCqurJpRB_MH8HfHlHcet8sA8fRVl_GAzkKt7xz5QD4Cpli5ftZvZriXMd9QOgFezOMq5i3jolIY54sVzCNPilR_cs5BPwYXL1Ew_3qL6LqFaS_51-4CJnebl3E/w539-h355/Captura%20de%20pantalla%202023-08-29%20a%20las%2011.18.15.png" width="539" /></a></span></div></span></div><span style="font-family: arial; font-size: x-large;"><div class="separator" style="clear: both;"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div class="separator" style="clear: both;"><span style="font-family: arial;"><span style="font-size: medium;">Caspar
Luyken, Establecimiento de negocios de seda en Amsterdam, 1697.
Rijksmuseum, Amsterdam. Fuente de la imagen: Rijksmuseum</span></span></div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;">A pesar de la guerra, casi omnipresente en el siglo XVII, el país se apoyaba en la pujanza comercial extraordinaria de las Compañías de las Indias tanto la VOC (occidentales) como la WIC (orientales) creadas a inicios del siglo XVII. Amsterdam disfrutó un fabuloso boom económico y demográfico, con una creciente demanda de productos de consumo, esencialmente de lujo. Las Compañías de las Indias fueron creadas en un principio para el comercio de especias pero rápidamente se expandieron a otros ambitos de gran valor como los textiles, la porcelana o el café. </div><div class="separator" style="clear: both;">La fortuna de los regentes y armadores que controlaban estas empresas tan codiciadas, no procedía solo de la reventa de esta preciadas mercancias sino también de la infamante trata de seres humanos -esclavos negros- practicada en el marco de una economía o comercio triangular trasatlántico: eran cambiados por productos europeos como textiles o armas y vendidos a continuación en América, tanto del sur como del norte a cambio de materias locales como azúcar, café, cacao, algodón o tabaco.</div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"><b> </b></span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"><b>La difusión mundial de los tejidos neerlandeses</b></span></div></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Tres industrias locales, ligadas a la producción textil, fueron particularmente floreciantes durante este periodo, con un gran éxito comercial internacional: la lana, el lino y los encajes.</span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Leyden, al norte de la ciudad de La Haya, se convirtió en uno de los principales centros productores y exportadores de paños de lana a nivel mundial. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">El éxito de estos tejidos no fue por casualidad: contaban con las mejores materias primas -como la lujosa lana merina española- y un sistema de control e inspección a través del gremio de los marchantes-pañeros sin parangón en Europa. Así se garantizaba la calidad extrema de los productos. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Más de cien variedades de telas diferentes eran controladas cada semana en los siete centros de inspección -los <i>halles</i>- de Leyden. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Eran especialmente rigurosos en cuanto a los tejidos de lana azules y negros ya que eran los más costosos y susceptibles de poder ser fraudulentos. </span><span style="font-family: arial; font-size: x-large;"> </span></div></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Estos excelentes tejidos fueron particularmente muy apreciados
por la corte y la nobleza europea.</span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-large;"><img border="0" data-original-height="561" data-original-width="800" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVxUyfjPiAXei3iHyUhSd1lS947VstXBFrRtWuw1g3NAcN1X4PLHuT_E_L1FfEDJAPE1G7Lr2bUwi3QDxp5JlIic5UmcKfFKS7O5tftSJ_am3qdRbk6c8cMZmzXqLufmhevktiy8jGwS4nPz_xAzBqDODzEpHowrcoRQ9bLIob7J8SqODyCqjD8epWczo/w631-h441/Isaac_Claesz._van_Swanenburg_-_Het_spinnen,_het_scheren_van_de_ketting,_en_het_weven.jpeg" style="caret-color: rgb(0, 0, 238); color: #0000ee; font-family: -webkit-standard; text-align: center; text-decoration: underline;" width="631" /></span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: medium;">Isaac Claesz van Swanenburg, <i>Hilado de la lana en Leyden</i>, c. 1595. Museo de Tejidos de Leyden. Fuente de la imagen: Wikipedia. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Por lo que se refiere al lino, era finísimo y ligero, de gran calidad. También era conocido como "tela de Holanda" o simplemente "Holanda". </span><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">La fibra de lino es gris antes de sufrir largas operaciones
de blanqueamiento para convertirse en un tejido
inmaculado. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Haarlem como toda la Frisia era célebre por la excelencia de
sus lavanderos-blanquedores y por la gran calidad de sus tejidos. Utilizaban leche de vaca y extendían el lino en las praderas al sol para blanquearlos.</span></div><span style="font-family: arial; font-size: x-large;">Desde
la Edad Media hasta el siglo XVIII, el uso del lino estaba generalizado en los guardarropas
masculinos y femeninos de todas las clases sociales. Así, la camisa de
lino era la ropa interior básica. Era la calidad textil y el grado de
su limpieza lo que distinguía a estos indumentos de ricos y pobres. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Mantener prendas de lino era muy costoso. Solían tener las iniciales bordadas de sus clientes para facilitar el trabajo a los lavanderos-blanqueadores y evitar la pérdida de estos costosos indumentos.</span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;">Con "tela de Holanda" fabricaban también tocas o cofias para mujeres así como encajes para cuellos y puños. </span></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-large;"> </span><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMQ74H2ZKcllYBzk6uVV8euR0F9PB5mV4F9Ulhpm0EIAzkYwcS1L6l1B0TmHQDsDoS0uIMjwWa1wi2azRL-mRd5mmNRaKQNWnebzMbwZP8owlBwy8w7EVZVQR_K9RFBSg5UUVOO62JpxVy0kq_VhAoPzmVLH-SP7NSGovW0ayLPefxHxR7aeK-fooWDZ8/s3380/1693247171096.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3380" data-original-width="2730" height="697" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMQ74H2ZKcllYBzk6uVV8euR0F9PB5mV4F9Ulhpm0EIAzkYwcS1L6l1B0TmHQDsDoS0uIMjwWa1wi2azRL-mRd5mmNRaKQNWnebzMbwZP8owlBwy8w7EVZVQR_K9RFBSg5UUVOO62JpxVy0kq_VhAoPzmVLH-SP7NSGovW0ayLPefxHxR7aeK-fooWDZ8/w562-h697/1693247171096.jpg" width="562" /> </a></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial;"><span style="font-size: medium;">Pieter (1) de Jode, <i>Pareja de elegantes: un gentilhombre español y una dama flamenca</i>. c. 1600-1610.</span></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: justify;"><span style="font-family: arial;"><span style="font-size: medium;"> </span></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-large;">Hacia 1670 se exportaron menos por las políticas proteccionistas del poderoso ministro Colbert en Francia o de Carlos II en Inglaterra.</span></div></div></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><b style="font-family: arial; text-align: justify;"> </b></div></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b>Una moda en blanco y negro</b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b> </b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">El estereotipo sobre indumentaria más generalizado </span><span style="font-family: arial; font-size: x-large;">que hizo fortuna en la Holanda protestante del siglo XVII es la moda en blanco y negro.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-large;"> </span><span style="font-family: arial; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ltFJLQB_JXgxzxa3-n8-XaE9nl6YjqaSlFlTnslE2Wpm1lQr2gTNZZ2YA_cnLPBZWH4Cron3cwsWxPohQk8oTDw9NqjcQjNQOH5W0eiKLb3cbdohu6x2MMTxqcOlnOHkhSGX0Bc5yyHG4di8ZgA0DZfg5U1rIiB6GzE12kC0Wf94IZvwCeGaHXHOwGo/s1345/willaerts.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1345" data-original-width="1345" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ltFJLQB_JXgxzxa3-n8-XaE9nl6YjqaSlFlTnslE2Wpm1lQr2gTNZZ2YA_cnLPBZWH4Cron3cwsWxPohQk8oTDw9NqjcQjNQOH5W0eiKLb3cbdohu6x2MMTxqcOlnOHkhSGX0Bc5yyHG4di8ZgA0DZfg5U1rIiB6GzE12kC0Wf94IZvwCeGaHXHOwGo/w602-h602/willaerts.jpeg" width="602" /></a></span><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Willaerts Abraham, <i>Un armador y su familia</i>, Museo de Bellas Artes de Valenciennes. Fuente de la imagen: Museo de Bellas Artes de Tours.</span></div><span style="font-family: arial; font-size: medium;"> </span><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En efecto, pudiera parecer que es fruto del rigor calvinista austero y sobrio, pero un análisis más detallado, sin negar lo anterior, nos refleja que el negro era el <i>summum</i> de la elegancia -como ya se hizo patente en otros periodos históricos como en la corte borgoñona del siglo XV o en la España de Carlos V y Felipe II en el siglo XVI. Por lo tanto, esa pretendida austeridad era más aparente que real, porque los tejidos presentes en los retratos de los adinerados burgueses holandeses eran exquisitos y costosos así como los inmaculados encajes de cuellos y puños que acrecentaban la suntuosidad de <i>nouveaux riches</i> de los retratados.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8k_xgiGIfoKhOccjJyBeW64Ke7r607KTLyyTqRod5GyiD-js5WkxfT5S81xEOV49yAkj5dxbxGpruZ5G4h2YBeHtB-z8Jjm3TRCZcbLzPXMM7fYmFywuXPeTzgdQ3gjltYxhrbp8f8zeo0QQBiiAhcDR6SCi5qCuuU-xgHCwBQtU8ym_RUDgVAeDXols/s800/Beresteyn-van_der_Eem_family_ca1635.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="552" data-original-width="800" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8k_xgiGIfoKhOccjJyBeW64Ke7r607KTLyyTqRod5GyiD-js5WkxfT5S81xEOV49yAkj5dxbxGpruZ5G4h2YBeHtB-z8Jjm3TRCZcbLzPXMM7fYmFywuXPeTzgdQ3gjltYxhrbp8f8zeo0QQBiiAhcDR6SCi5qCuuU-xgHCwBQtU8ym_RUDgVAeDXols/w664-h460/Beresteyn-van_der_Eem_family_ca1635.jpeg" width="664" /></a></span><span style="font-family: arial; font-size: x-large;"> <br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Pieter Soutman, <i>Retrato de la familia Beresteyn con sus seis hijos y dos sirvientes,</i> hacia 1630-31. Este retrato muestra a una rica familia de Haarlem en la que no faltan los indumentos de color negro y los exquisitos encajes en cuellos y puños. Los niños visten como miniadultos. Fuente de la imagen: Wikimedia Commons. </span><span style="font-family: arial; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div style="text-align: justify;"></div></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9QSfYshnSdfCGC2bByDRTgyDx5AT2t6Tx6gjNid2KhhvBA48-4bwYasUjR0YnT-EdC9T-ioXGd3g-ywpenXk_aaisuwfegmaX0KXS-Z667srTSfZwS1gQVtAqnITnhc4y86yD4inayFPcl-dnc2k4cWvyvqKZMzHC_n3Pgt03F8Q2NHFkOruR1wZ49Y/s402/3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="402" data-original-width="299" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9QSfYshnSdfCGC2bByDRTgyDx5AT2t6Tx6gjNid2KhhvBA48-4bwYasUjR0YnT-EdC9T-ioXGd3g-ywpenXk_aaisuwfegmaX0KXS-Z667srTSfZwS1gQVtAqnITnhc4y86yD4inayFPcl-dnc2k4cWvyvqKZMzHC_n3Pgt03F8Q2NHFkOruR1wZ49Y/w415-h560/3.jpeg" width="415" /> </a></div><div class="separator" style="clear: both; text-align: justify;"> </div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Taller de Cornelis van der Voort, <i>Retrato de Magdalena van Erp realizado con ocasión de su matrimonio, </i>hacia 1623. Castillo real de Blois. Fuente de la imagen: webmuseo.com</span> <br /></div><div class="separator" style="clear: both; text-align: center;"> <br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsZn_DGFU44R__hngdYTIEzlRCsCm6626phtCAEB9_42KF-TekD0EgpheWprBJ81TRGgmMGLvz0dfydcN3k1EHIKv8s9Bj7DwjVLQQd-fvFJYiIPLPVX5BZ9_HR4a-gXTLbv6YrcVr5U2x8QYrIL0nwgupvlwVlspFFnb7mTIjKnvC75ugTQ08CPYE9ok/s2955/img_6536_2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2955" data-original-width="2519" height="664" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsZn_DGFU44R__hngdYTIEzlRCsCm6626phtCAEB9_42KF-TekD0EgpheWprBJ81TRGgmMGLvz0dfydcN3k1EHIKv8s9Bj7DwjVLQQd-fvFJYiIPLPVX5BZ9_HR4a-gXTLbv6YrcVr5U2x8QYrIL0nwgupvlwVlspFFnb7mTIjKnvC75ugTQ08CPYE9ok/w567-h664/img_6536_2.jpeg" width="567" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Patines, Holanda, hacia 1625-1675. Centraal Museum de Utrecht. Fuente de la imagen: https://www.latribunedelart.com</span></div><br /><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b>Indumentos femeninos y masculinos, c. 1625<br /></b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><b><br /></b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En
esta exposición podemos analizar varios indumentos de la moda de la burguesía holandesa del
siglo XVII. Son reconstrucciones basadas en fuentes documentales e
iconográficas.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Ambos llevan el consabido negro y los ricos encajes de cuellos y puños. <br /></span></div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu18xNeGOC2ZWeZtKUMTV38D81uss9eqPFDtP0PGVp7qu5H9fCwlLfvljRn80qg4jt5rgD3g2QT6jyUferfH_DlvUUyLvJ5Jyh9I9fibNUri3vnNWbLsN6si67p9gsy4nVXhMkPWNR4wb41K5rHFKzMUNxAd1p3zY2TWShSv8zI5a0ZgvS9__wlTkUyeo/s3194/1692886798897.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3194" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu18xNeGOC2ZWeZtKUMTV38D81uss9eqPFDtP0PGVp7qu5H9fCwlLfvljRn80qg4jt5rgD3g2QT6jyUferfH_DlvUUyLvJ5Jyh9I9fibNUri3vnNWbLsN6si67p9gsy4nVXhMkPWNR4wb41K5rHFKzMUNxAd1p3zY2TWShSv8zI5a0ZgvS9__wlTkUyeo/w579-h546/1692886798897.jpg" width="579" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><span style="font-family: arial; font-size: x-large;"> </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En
el siglo XVII los encajes estaban de moda en toda Europa. Sus
principales centros de producion eran Venecia y Flandes (Amberes,
Brujas, Bruselas, Malinas) pero se producian también por otros paises
europeos como España y Francia. Eran mercancías de lujo, sumamente costosas.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">En los Países Bajos los imponentes cuellos blancos de encaje de rueda de molino -<i>fraises</i> o <i>ruff</i>- alcanzaron un enorme éxito. Fueron elementos icónicos de la moda durante un siglo, desde mediados del XVI hasta 1650. Los retratos holandeses y flamencos reflejan muy bien esta tendencia.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">D</span><span style="font-family: arial; font-size: x-large;">urante las décadas de 1600 al 1630 se convirtieron en el emblema del estatus social por excelencia. Hacían falta nada menos que 17 metros de tela para realizarlos. Requerían un cuidado exquisito para poder conservar su limpieza y blancura. Su estructura rígida y de grandes dimensiones imponía un porte altivo, mostrando así, el rango social de su propietario.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yIW8BiPEb8t_h2UJkAdKy87O5slCxm2zR6YA7Q_clYww7Ovf-1JgzfF5zrQ5yxuXD7ZoRYkjyV9oqmfPuj7f_1AO0g9bG3MBnG20qoQPMzn-tBiNeoG_uKXz_Jzm0GKgTcXC9fPO091es7VcVX_AZTjahxJmj5JIAwOZQGyXGMJ3ESQdmYFviolnllA/s4000/1692896946716.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="423" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yIW8BiPEb8t_h2UJkAdKy87O5slCxm2zR6YA7Q_clYww7Ovf-1JgzfF5zrQ5yxuXD7ZoRYkjyV9oqmfPuj7f_1AO0g9bG3MBnG20qoQPMzn-tBiNeoG_uKXz_Jzm0GKgTcXC9fPO091es7VcVX_AZTjahxJmj5JIAwOZQGyXGMJ3ESQdmYFviolnllA/w564-h423/1692896946716.jpg" width="564" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;">Reconstruccíon de una <i>fraise</i> o gola de lino con estructura metálica que permitía mantener rígido el cuello de encaje.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: medium;"> </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiakBtomMUydONj53XS84uFO4aW1nOczYcN_WP-91AqsM_UuCkp3uHUD4qIabhcAjHtzIFX2cOVBzFLs7qT1hXmYUJxFpF2Wrbv8mJ8rbP7wXLmgtagClVAZkeyg_9DmDTB1NWEoZIMbP8h-ByxUGxrOunWOFRPGZcmzu7EtGokH9vjvdhQXhxpl8yYrOk/s4000/1692896832671.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiakBtomMUydONj53XS84uFO4aW1nOczYcN_WP-91AqsM_UuCkp3uHUD4qIabhcAjHtzIFX2cOVBzFLs7qT1hXmYUJxFpF2Wrbv8mJ8rbP7wXLmgtagClVAZkeyg_9DmDTB1NWEoZIMbP8h-ByxUGxrOunWOFRPGZcmzu7EtGokH9vjvdhQXhxpl8yYrOk/w477-h358/1692896832671.jpg" width="477" /></a></div><br /><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8NSIfWdvq6uWyfNh9cfkea9rtx1fOyXYc60m_0aZ1WCFGHTyEiTdyAQ77ARjkDoV8U_CthgPi_J0_qkqvl-UK0qlzc6y9Weg0_cJJdBWv85tYQtuTX2wtEdCIsXYC9T-b8D-FBF9u-4vmh66Nso_82nBclehsgqZ7KaFu9uCih5KLVa1GzQFujfyZ6JY/s4000/1692886671590.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8NSIfWdvq6uWyfNh9cfkea9rtx1fOyXYc60m_0aZ1WCFGHTyEiTdyAQ77ARjkDoV8U_CthgPi_J0_qkqvl-UK0qlzc6y9Weg0_cJJdBWv85tYQtuTX2wtEdCIsXYC9T-b8D-FBF9u-4vmh66Nso_82nBclehsgqZ7KaFu9uCih5KLVa1GzQFujfyZ6JY/w537-h403/1692886671590.jpg" width="537" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6BJJSzvhq5QaDF03T963kZBYfnv_jBQh0UynuaDB8zM7ZPnEsfjntK5qFgEoFgpc6DMSh62YGv-sxnT8NwBT-FEFR92mKSkqYAF8SCWzHaW6sv7p6xQdOQEOxLGN8lYqDJMiQ_-qRWB1tcTk-mhoSFFs0TdF8dGM2DEo-BLUJhe3T1K-0lIX-K_f-l9w/s4000/1692886798929.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6BJJSzvhq5QaDF03T963kZBYfnv_jBQh0UynuaDB8zM7ZPnEsfjntK5qFgEoFgpc6DMSh62YGv-sxnT8NwBT-FEFR92mKSkqYAF8SCWzHaW6sv7p6xQdOQEOxLGN8lYqDJMiQ_-qRWB1tcTk-mhoSFFs0TdF8dGM2DEo-BLUJhe3T1K-0lIX-K_f-l9w/w561-h421/1692886798929.jpg" width="561" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87Ip8i8ts9V7Pq-TRhstaMadJuK99EtVWm48QItkfNt0gijZryDp2iLavxduotOAx37A89VS2eUtiG36IAqAF-b1qsT0Q2MlYjhybtVSMgq_Kzlxh_YosdgvZ5OZJ1UbilgDj2OV3Giez4eqD1jN-3PfWi7eSSK8IyiFoxRvf7JslKFTYuPxISne7970/s4000/1692886671639.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87Ip8i8ts9V7Pq-TRhstaMadJuK99EtVWm48QItkfNt0gijZryDp2iLavxduotOAx37A89VS2eUtiG36IAqAF-b1qsT0Q2MlYjhybtVSMgq_Kzlxh_YosdgvZ5OZJ1UbilgDj2OV3Giez4eqD1jN-3PfWi7eSSK8IyiFoxRvf7JslKFTYuPxISne7970/w387-h516/1692886671639.jpg" width="387" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Esta indumentaria femenina nos muestra una ropa de encima, con o sin mangas denominada <i>vlieger</i> -derivado posiblemente de una tipología indumentaria española denominada <i>ropa</i>-. En este caso es con mangas extraíbles. </span><span style="font-family: arial; font-size: x-large;"> </span><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Habitualmente es negra, de terciopelo y podía ir forrada con pieles.
</span><span style="font-family: arial; font-size: x-large;">Lo usaban solo las mujeres casadas.</span></div><span style="font-family: arial; font-size: x-large;">El <i>vlieger</i> va abierto al frente, dejando asomar el cuerpo o corsé emballenado denominado <i>borst</i>. El <i>borst</i> suele ir decorado con hilos de oro y perlas o pedrería fina. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">La falda va ahuecada </span><span style="font-family: arial; font-size: x-large;">en su interior gracias a un artilugio tipo verdugado o tambor, consiguiendo así, una amplia silueta. </span><span style="font-family: arial; font-size: x-large;"> No faltan los encajes en cuello y puños. La camisa- no visible- hace las veces de ropa interior.</span></div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-zXAWw4XqywdyO8_1uFWyws8VQD2RsVqkXlbE5dOKBLEPjHL6UkAiLJGkluQ8pVOayvZlqksYKh6aRwlieDMI4QKAqH8lhogRoWnH0yrULp6WZEU5hb9q66ZosGf0UgrRUrTBy9F-j_Ixyp6LKPrMMJeIs63iDomgpLQ7zhj2j_sCxFuMNwvWu2WtNQ/s4000/1692886671660.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="664" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-zXAWw4XqywdyO8_1uFWyws8VQD2RsVqkXlbE5dOKBLEPjHL6UkAiLJGkluQ8pVOayvZlqksYKh6aRwlieDMI4QKAqH8lhogRoWnH0yrULp6WZEU5hb9q66ZosGf0UgrRUrTBy9F-j_Ixyp6LKPrMMJeIs63iDomgpLQ7zhj2j_sCxFuMNwvWu2WtNQ/w498-h664/1692886671660.jpg" width="498" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /><br /></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: xx-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjBYfZDDvCeC9XD_6ZAUrazXMpoR0G51AIecZrfOiBV4Zw6NIhlqLNmM7NdemVDw_Z-Ra9buTfkuliWccMclPlQS_owrJDhOIX1OG9DCidw_kZC-eMvZcYRPKKa7GltSjC5lOegtlLvXhWEYaM8oS6q08NRx_90PIsqq4_xl1NXXGdod0ZxFUQlfMZ2g/s4000/1692886671617.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="503" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjBYfZDDvCeC9XD_6ZAUrazXMpoR0G51AIecZrfOiBV4Zw6NIhlqLNmM7NdemVDw_Z-Ra9buTfkuliWccMclPlQS_owrJDhOIX1OG9DCidw_kZC-eMvZcYRPKKa7GltSjC5lOegtlLvXhWEYaM8oS6q08NRx_90PIsqq4_xl1NXXGdod0ZxFUQlfMZ2g/w377-h503/1692886671617.jpg" width="377" /></a></div><br /><span style="font-size: xx-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;">Por su parte, la reconstrucción de indumentaria holandesa masculina, como la que llevaban los hombres burgueses hacia 1625, está compuesta por una capa circular, un jubón y unos calzones hasta la rodilla. No faltan los encajes en puños y en el cuello caído. Completa su vestimenta las medias, los zapatos y el sombrero de ala ancha.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEEuiXACurlbvAvucoVY-pGEIDr1VJ66SIQLogM5rf_71syY3ZMJQUo4B7TzH9f5BQqMAiLMoRa_WcSdc0j9L13uJwHMfd6J7j6WuyvubTz9DXe0AsidH9aulihYW3-QHuYy4viY3dS3Y6LJ7ZTVyTO6nf9tUCfMBmg8sYbFfyBSvuBpWX2raAYVx-A0/s4000/1692887026919.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEEuiXACurlbvAvucoVY-pGEIDr1VJ66SIQLogM5rf_71syY3ZMJQUo4B7TzH9f5BQqMAiLMoRa_WcSdc0j9L13uJwHMfd6J7j6WuyvubTz9DXe0AsidH9aulihYW3-QHuYy4viY3dS3Y6LJ7ZTVyTO6nf9tUCfMBmg8sYbFfyBSvuBpWX2raAYVx-A0/w354-h472/1692887026919.jpg" width="354" /></a></div><br /><span style="font-family: arial; font-size: x-large;"></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YfvFZTWR-rPRzMXOFPGhoy3goqqbTsoL7YKDO840eP7WeBsEQ_7nd8ipCp6GPpN5NgKNGvaFPjuZ13zDOebHF8uFwVHSAGMjykT90ZH-j2gz-jc91y2m7DRzlBbWJI0vK0nLn5EOi_PXP-KmOxVRwi3oWGzUUW-b-4_I59gI0WKZO7lEwGsb8iOAnrI/s4000/1692886798918.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="557" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6YfvFZTWR-rPRzMXOFPGhoy3goqqbTsoL7YKDO840eP7WeBsEQ_7nd8ipCp6GPpN5NgKNGvaFPjuZ13zDOebHF8uFwVHSAGMjykT90ZH-j2gz-jc91y2m7DRzlBbWJI0vK0nLn5EOi_PXP-KmOxVRwi3oWGzUUW-b-4_I59gI0WKZO7lEwGsb8iOAnrI/w418-h557/1692886798918.jpg" width="418" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokqdb561_wcZc7mpeVXHYJRyclLCUy46EFDevaIkbdKUSkWIU49Bd694c5jNWIERjgSxwXQYxzX52mH6YdaVG73xAoFDdW9zdY9NkogyTdazX3AgYXqrBtyaAw4JObhcMcar2snhBWPG4frZ5PtyjXsOoksEDKn1xYFOrdyUHMGAaHTMTbTE5iBalK24/s4000/1692887026909.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokqdb561_wcZc7mpeVXHYJRyclLCUy46EFDevaIkbdKUSkWIU49Bd694c5jNWIERjgSxwXQYxzX52mH6YdaVG73xAoFDdW9zdY9NkogyTdazX3AgYXqrBtyaAw4JObhcMcar2snhBWPG4frZ5PtyjXsOoksEDKn1xYFOrdyUHMGAaHTMTbTE5iBalK24/w376-h501/1692887026909.jpg" width="376" /></a></div><br /><span style="font-family: arial; font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYz30fBvb59L20pyQcDaAjrRjHpsTVKgbT8GQOrSj0_tUJoYcxmvsv_FTBfc2ks28dawnPby1Gb-k91opJf1BGXICilhRZL94-atdrDQlLRXjyiOwfnc1JdWGOmacG_IV4EcfQIpKKP_nWHssCbTXDyWJlqSWbdDptsirfMMAICzzFT70liabGueJ7FY/s2821/1692887026901.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2327" data-original-width="2821" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYz30fBvb59L20pyQcDaAjrRjHpsTVKgbT8GQOrSj0_tUJoYcxmvsv_FTBfc2ks28dawnPby1Gb-k91opJf1BGXICilhRZL94-atdrDQlLRXjyiOwfnc1JdWGOmacG_IV4EcfQIpKKP_nWHssCbTXDyWJlqSWbdDptsirfMMAICzzFT70liabGueJ7FY/w572-h472/1692887026901.jpg" width="572" /></a></div><div><br /></div><div><br /></div><div><br /></div><div><span style="font-family: arial; font-size: large;"><b>Fuente de documentación</b></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><span>La visita a la exposición <i>L´étoffe des Flamands. Mode & peinture au XVII</i></span><i><span face=""Source Sans Pro", sans-serif" style="background-color: white; caret-color: rgb(45, 47, 48); color: #2d2f30; text-align: left;">ᵉ</span></i><span><i> siècle</i> y su catálogo.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><span>VVAA (2022). <i>L´étoffe des Flamands. Mode et peinture au </i></span></span><span style="font-family: arial; font-size: large;"><span><i>XVII</i></span><i><span face=""Source Sans Pro", sans-serif" style="background-color: white; caret-color: rgb(45, 47, 48); color: #2d2f30; text-align: left;">ᵉ</span></i><span><i> </i></span></span><span style="font-family: arial; font-size: large;"><span><i>siècle.</i> Gante: Snoeck.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: arial; font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;"></div><div class="separator" style="clear: both;"><span style="font-family: arial; font-size: large;">Fotografías: Ana Galván, exceptuando aquellas que indiquen otra fuente documental.</span></div></div>Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-45419117487667396282023-05-16T11:10:00.000+02:002023-05-16T11:10:33.403+02:00LA MODA EN TIEMPOS DE LA REVOLUCIÓN FRANCESA<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbdco_BjH4GE0LbpdJSQq307HiZDkjkhaaMMn_8e2-NKImZjLsbjrIE7uoo9iTvin9NdjwA9PoTRiVho_dspzF6Cr9PVGTc20m4aUpO6yqxg4ePfeGcZplPw8CG2GyddY7shy_oTU_Qw/s1600/IMG-1131.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="1600" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbdco_BjH4GE0LbpdJSQq307HiZDkjkhaaMMn_8e2-NKImZjLsbjrIE7uoo9iTvin9NdjwA9PoTRiVho_dspzF6Cr9PVGTc20m4aUpO6yqxg4ePfeGcZplPw8CG2GyddY7shy_oTU_Qw/s640/IMG-1131.jpg" width="640" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif"> <span style="font-size: large;">Chinelas francesas, c. 1789, Colección Guillen, Museo Internacional del Calzado, Romans.</span></span><br />
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<span lang="EN-GB"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">1789: esa mítica fecha marcó el inicio de la Revolución francesa, los comienzos del mundo moderno con repercusiones profundas y distintas en toda Europa. </span></span></div>
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<span lang="EN-GB"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif">La Revolución francesa fue uno de los acontecimientos más trascendentales, uno de los momentos estelares de la humanidad. Comenzó con ideales utópicos luminosos surgidos de la Ilustración, para continuar con años terribles de terror y violencia extrema que provocaron miles de asesinatos y, <i>mutatis mutandis, </i>que muchos revolucionarios murieran probando su propia medicina: la guillotina.</span><span face=""arial" , "helvetica" , sans-serif"><o:p></o:p></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiICm0o5UR13a1dQvKjHrI93re9jNHIFy4VDwlpnOFuIkjmlXqXJhZ2TQ1dOKB4sDTqM0-Y-fA9Pt5A0EMs-ZFsbxRAPjXYfMJ5tovnieoNyelQiN9WfR1qhaXS20lPiGB26xVPkmHJGfw/s1600/marieantoinette1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="653" data-original-width="536" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiICm0o5UR13a1dQvKjHrI93re9jNHIFy4VDwlpnOFuIkjmlXqXJhZ2TQ1dOKB4sDTqM0-Y-fA9Pt5A0EMs-ZFsbxRAPjXYfMJ5tovnieoNyelQiN9WfR1qhaXS20lPiGB26xVPkmHJGfw/s640/marieantoinette1.jpg" width="524" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;">La reina Maria Antonieta, "Madame Déficit", vestida en <i>grand habit </i>con todo el lujo y esplendor del <i>Ancien Régime. </i>Este retrato es obra de la gran pintora Elisabeth Vigée-Lebrun, 1780. Kunsthistoriches Museum, Viena.</span><br />
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<span lang="EN-GB"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">No es nuestro objetivo valorar la trascendencia histórica de esta revolución sino su impacto en la indumentaria, que no es cuestión fútil sino diversa y profunda. Fue un medio de propaganda del nuevo régimen político.</span></span></div>
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<span lang="ES"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Desde los inicios de la Revolución francesa, la indumentaria se convirtió en una verdadera arma arrojadiza, jugando un rol vital en la identidad política de los ciudadanos franceses, ya fueran revolucionarios o realistas. </span></span></div>
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<span lang="ES"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La vestimenta presentaba más que nunca una función simbólica ya que a través de ella se reflejaba no solo </span><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">el estatus económico y social de sus portadores sino también su significación política.</span></span></div>
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<span style="font-family: "arial"; font-size: x-large;">Las consecuencias podían ser impredecibles, pero a más de uno le costó ser pasado por la guillotina por utilizar indumentos aristocráticos, clericales o poco afines a la "moda revolucionaria".</span><br />
<span style="font-family: "arial"; font-size: x-large;">Hasta los nombres de las prendas tenían connotaciones políticas: </span><span style="font-size: x-large;"><span style="font-family: "arial"; text-align: start;">traje “a la Constitución”, “a la patriota”, etc.</span><span style="font-family: "arial"; text-align: start;"> </span></span><br />
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<span lang="ES" style="font-family: "arial";"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La moda pasó a tener tintes políticos, y nunca mejor dicho porque los colores adquirieron una importancia inusitada. </span></span></div>
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<span lang="ES" style="font-family: "arial";"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Con</span><span style="font-size: x-large;"> la Toma de la Bastilla el 14 de julio de 1789, el gobierno de la ciudad de París decretó que todos los ciudadanos debían portar la escarapela tricolor (la <i>cocarde)</i>. </span></span></div>
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<span lang="ES" style="font-family: "arial";"><span style="font-size: x-large;">El color rojo y azul eran los representativos de París y el blanco de la monarquía. Al parecer fue el general Lafayette el que sugerió el color blanco como símbolo de la monarquía.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg36T4PG2zNqf36l-__aHKhwQAY0SOJuHx1m9BH4G_PSWmKyYCQLe5Qdn1a4H-NgVpBxeRw3wEsV8uTIKqsU5AKzzvbrEbQSq1jYqnMOiYGPCoeoPJY-Dj6oEwwSwq6wA-x60xCeEOHV9g/s1600/IMG-1070.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1421" data-original-width="989" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg36T4PG2zNqf36l-__aHKhwQAY0SOJuHx1m9BH4G_PSWmKyYCQLe5Qdn1a4H-NgVpBxeRw3wEsV8uTIKqsU5AKzzvbrEbQSq1jYqnMOiYGPCoeoPJY-Dj6oEwwSwq6wA-x60xCeEOHV9g/s640/IMG-1070.jpg" width="444" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: large;">¨Plantando el árbol de la libertad", E. Le Sueur, 1792. Museo Carnavalet, París. Las <i>mujeres patrióticas e</i>n esta fiesta revolucionaria levaban vestidos-camisas blancos simbolizando la pureza de una nueva época. En la era revolucionaria se plantaron 60.000 árboles, la mayoría robles.</span></span><br />
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<span lang="ES" style="font-family: "arial";"><span style="font-size: x-large;">Portaban esos colores en cuellos, guantes, sombreros y gorros, vestidos, zapatos, bandas o tahalís... El color blanco de fondo dominaba en la indumentaria femenina y el negro en la masculina.</span></span></div>
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<span style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif" lang="ES"><b>Prohibiciones en la Revolución</b></span></span><br />
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<span style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif" lang="ES"><span face=""arial" , "helvetica" , sans-serif">Los nuevos gobiernos revolucionarios dictaban la moda en función de un nuevo orden social, político y económico basado en la igualdad y fraternidad más que en los privilegios, aunque anularan así, la libertad de cada uno de vestir como quisiera.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0tB648JFS2X3l4xwT5J1a3DrTyX7rfEf-fQeTICCZiBvMNEYoaclnrwutEEmj6QXD4TtCCbdv8eY53V1XLMa5NQtDsSkR7YVcWJ8voVCt0VhUfYhDTFH6HejgSuCAExIEzjmZi4OkuWg/s1600/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="514" data-original-width="800" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0tB648JFS2X3l4xwT5J1a3DrTyX7rfEf-fQeTICCZiBvMNEYoaclnrwutEEmj6QXD4TtCCbdv8eY53V1XLMa5NQtDsSkR7YVcWJ8voVCt0VhUfYhDTFH6HejgSuCAExIEzjmZi4OkuWg/s640/1.jpg" width="640" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif"><span style="font-size: large;">Cuando la moda de 1793 se encuentra con la moda de 1778: ¡Qué antigüedad! dicen unos, ¡Qué locura! responden los otros. Fuente de la imagen: http://histoire-du-costume.blogspot.com</span></span><br />
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<span style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif" lang="ES">Así las cosas, la moda rococó, aristocrática y frívola, muy <i>Ancien Régime,</i> fue vista como un mal a combatir, de ahí que durante la Revolución fueron prohibidos: </span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*los corsés (por dañinos para la salud)</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*los encajes</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*las pelucas </span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*las joyas</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Los tejidos más exquisitos como </span><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">sedas, tafetanes o terciopelos.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Estas prohibiciones estuvieron vigentes hasta la aparición del Imperio francés de Napoleón Bonaparte (1804) ligado al surgimiento de la moda neoclásica Imperio. </span></div>
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<span style="font-size: x-large;"><span face=""arial" , "helvetica" , sans-serif" lang="ES"><b>Los <i>Sans-culottes</i> y el <i>Sansculottismo</i></b></span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Se ha señalado que con la Revolución francesa se desató una verdadera histeria colectiva por primera vez en la historia sobre el uso identitario de indumentos políticos. El ciudadano reemplazó al individuo.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La importancia de la moda en esta etapa se aprecia hasta en el nombre de los revolucionarios por antonomasia: los <i>sans-culottes</i>, literalmente, los que no llevan calzones. En realidad, lo que portaban eran pantalones de rayas, abandonando los exquisitos<i> culottes</i> aristocráticos masculinos, habituales en buena parte del siglo XVIII, por cierto, nada que ver con los ridículos <i>rhingraves,</i> característicos del siglo XVII francés.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los <i>sans-culottes</i> representaban al Tercer Estado o pueblo llano. Se oponían a los aristócratas y realistas en todo: en su forma de vestir, vocabulario, ideología…</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Es lo que se ha denominado como <i>sans-culottismo</i>, la moda patriótica y revolucionaria que se refleja en la indumentaria, la música, la cocina, el humor, la forma de hablar y hasta en la decoración.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Fueron el ala extrema de los ya de por sí extremistas jacobinos y los "verdaderos patriotas".</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit7ccqTBYMnXyg4Pg_AteGFoSr7njiIvtc3kA0LEbv5i7nNam-3nna6Pam6LycEDKACNk4YAYkwwWGH2eRnltW_dRZXaST5GTSkn0dlF72pPI67Zmk-3Yi42gcWvxBm5Z3RMvCPVshTxI/s1600/Sans-culotte.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="602" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit7ccqTBYMnXyg4Pg_AteGFoSr7njiIvtc3kA0LEbv5i7nNam-3nna6Pam6LycEDKACNk4YAYkwwWGH2eRnltW_dRZXaST5GTSkn0dlF72pPI67Zmk-3Yi42gcWvxBm5Z3RMvCPVshTxI/s640/Sans-culotte.jpg" width="468" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;">El actor Chenard caracterizado como un <i>sans-culotte</i> en este cuadro de L.L. Boilly, 1792. Fuente de la imagen: Wikipedia.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Las prendas que portaban los <i>sans-culottes </i>eran las siguientes:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XPjjFEh2CZogrLGwSwhYZRMh_z3i2GMLyNRsgJO_65mCoVVbaWMauI78Pf1y2jZYhmM-iOeogYX7QDcW7sCXRQ_I0TnMebZhZuXQRFe1Q__VLbHSpStwn0nYgZjneIAgjFRn2J_qdHw/s1600/san+culot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1028" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_XPjjFEh2CZogrLGwSwhYZRMh_z3i2GMLyNRsgJO_65mCoVVbaWMauI78Pf1y2jZYhmM-iOeogYX7QDcW7sCXRQ_I0TnMebZhZuXQRFe1Q__VLbHSpStwn0nYgZjneIAgjFRn2J_qdHw/s640/san+culot.jpg" width="410" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*El <b>Gorro Frigio</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxi8RSGWCgDaFrbj29BXn7acYpI25FmLnp64QWh7_VHvsIApqX-6oDUx0rPm4xseXfLHRJ_RK3s6RlNyS2_IPjrBTs5wf_sKLrbFzm0gJNaO3F3c1EZJCtBSgGogIfdoGj3qU9KHxz4M/s1600/IMG-1083.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="1600" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxi8RSGWCgDaFrbj29BXn7acYpI25FmLnp64QWh7_VHvsIApqX-6oDUx0rPm4xseXfLHRJ_RK3s6RlNyS2_IPjrBTs5wf_sKLrbFzm0gJNaO3F3c1EZJCtBSgGogIfdoGj3qU9KHxz4M/s640/IMG-1083.jpg" width="640" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;">El revolucionario gorro frigio característico de la Revolución francesa, Museo de Bellas Artes de Boston. Este tipo de prenda se llevó sobre todo en los inicios de la revolución. A la derecha podemos contemplar botones de bronce con miniaturas pintadas, c. 1792-93. Este tipo de botones con sus emblemas revolucionarios permitán identificar politicamente a su portador, colección de Lillian Williams, Nueva York y París.</span><br />
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<span style="font-size: x-large;"><span style="font-family: "arial"; text-align: left;">Supuestamente, el origen del gorro frigio se encuentra en la región de Frigia, Asia Menor, en la actual Turquía. En el arte griego del periodo helenístico aparece como atuendo característico de los orientales. Es uno de los atributos del dios Mitra o </span><span style="font-family: "arial"; text-align: left;">Mithras</span><span style="font-family: "arial"; text-align: left;">, en el culto de posible origen iranio conocido como </span><span style="font-family: "arial"; text-align: left;">mitraísmo</span><span style="font-family: "arial"; text-align: left;">. En época romana, el gorro frigio (llamado </span><span style="font-family: "arial"; text-align: left;"><i>pileus</i></span><span style="font-family: "arial"; text-align: left;">) era el distintivo de los libertos. </span></span><br />
<span style="font-size: x-large;"><span style="font-family: "arial"; text-align: left;">Fue utilizado también simbólicamente por los asesinos de Julio César. Tal vez por esta razón, durante la Independencia de Estados Unidos y la Revolución francesa fue adoptado como símbolo de la </span><span style="font-family: "arial"; text-align: left;">libertad.</span></span><br />
<span style="font-size: x-large;"><span style="font-family: "arial"; text-align: left;">E</span><span style="font-family: "arial"; text-align: left;">l siglo XIX, el gorro frigio se consagra definitivamente como símbolo internacional de la libertad y el republicanismo. Lo lleva l<i>a alegoría de la Libertad</i> que aparece guiando al pueblo en el conocido cuadro de </span><span style="font-family: "arial"; text-align: left;">Eugène </span><span style="font-family: "arial"; text-align: left;">Delacroix, de 1830. Marianne, personificación de la República Francesa, está tocada también con un gorro frigio. Durante los siglos XIX y XX ha sido utilizado como símbolo en varias repúblicas.</span></span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*La <b>Carmagnole</b> o Carmañola (en español)</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Era un tipo de chaqueta con botones metálicos que se llevaba con un chaleco de rayas de varios colores. Se cree que su origen era una vestimenta campesina de origen piamontés. Hubo una canción revolucionaria de la época que se llamaba "<a href="https://youtu.be/Q6dAV5kB9CY">Carmagnola"</a>.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;">Maqueta de la Bastilla llevado por <i>sans-culottes, </i>E. Le Sueur, 1792, Museo Carnavalet de París</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Los <b>Pantalones</b>, habitualmente de rayas.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Zapatos sencillos o <b>Zuecos</b>.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Cuando Robespierre fue guillotinado (en 1794) los <i>sans-culottes</i> perdieron el poder.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hhjkKkKfkO64ed_X_LdfgT7vSDnlSM_P1uyGsqhWc0_CNFuhA5-ds6lYmlw2JOkMja6MIfCHxOY9beaC4KJlC2Y0UhTVihgBlZ-7QuCIoTfuOIkirqY-N2-Pjy4JhEUYKcp7C-GAKwM/s1600/Screenshot+2019-03-31+at+18.17.23.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="580" data-original-width="408" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hhjkKkKfkO64ed_X_LdfgT7vSDnlSM_P1uyGsqhWc0_CNFuhA5-ds6lYmlw2JOkMja6MIfCHxOY9beaC4KJlC2Y0UhTVihgBlZ-7QuCIoTfuOIkirqY-N2-Pjy4JhEUYKcp7C-GAKwM/s640/Screenshot+2019-03-31+at+18.17.23.png" width="450" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJXk4vRh3PFb7AW4Xb6TXAJTY3nk35a1E2N0gRQPzxa3WOZ9GD8MNiaePgb1yqBstlTjw3BpBzR1Gq5IOcfbeFecn-pIR668adICpkxHhUglu_t7TFwoUqzwTqCDqXjQX-9F0LXEObOYc/s1600/french_revolution_costume_liberte.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="607" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJXk4vRh3PFb7AW4Xb6TXAJTY3nk35a1E2N0gRQPzxa3WOZ9GD8MNiaePgb1yqBstlTjw3BpBzR1Gq5IOcfbeFecn-pIR668adICpkxHhUglu_t7TFwoUqzwTqCDqXjQX-9F0LXEObOYc/s640/french_revolution_costume_liberte.jpg" width="388" /></a></div>
<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"> </span><span face=""arial" , "helvetica" , sans-serif" style="font-size: large;">Figura alegórica de la Revolución francesa. Fuente de la imagen: world4.eu</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Junto a los <i>sans-culottes</i> no podemos olvidarnos de las temibles <i>tricoteuses </i>jacobinas. Vestián muy sencillas y siempre con símbolos revolucionarios. Tejían sin parar mientras asistían a los ajusticiamientos políticos revolucionarios.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd1XxGTMZ1Mum-CN4ueNcv1IHU2xw05GcBQUxbk1yAQQmIaVG25ADLEp9h0AX_rZ-jFgVXMAg9sa8HIZNuIVOZUAKr9nmwsHfTRr5Fyk6ElEyLOLkxF0G3kwfqoIX6cUsV5PUxOlrWWE/s1600/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd1XxGTMZ1Mum-CN4ueNcv1IHU2xw05GcBQUxbk1yAQQmIaVG25ADLEp9h0AX_rZ-jFgVXMAg9sa8HIZNuIVOZUAKr9nmwsHfTRr5Fyk6ElEyLOLkxF0G3kwfqoIX6cUsV5PUxOlrWWE/s400/1.jpg" width="360" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"><i>Les tricoteuses jacobines,</i> Pierre-Etienne Lesueur, 1789-1799, Museo Carnavalet, París. Fuente de la imagen: https://les8petites8mains.blogspot.com</span><br />
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<span style="font-size: large;"><span style="font-size: xx-small;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;"><b>¿Revolucionarios y Dandis?</b></span></span></span><br />
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<span style="font-size: large;"><span style="font-size: xx-small;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Los <i>sans-culottes</i> eran los revolucionarios de las clases populares. Pero los verdaderos ideólogos de la revolución eran burgueses ilustrados como los Saint Just, Danton, Marat, Robespierre o Camille Desmoulins. </span></span></span><br />
<span style="font-size: large;"><span style="font-size: xx-small;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Su indumentaria no podía ser, en algunos casos, más a la moda, moda revolucionaria bien entendido: sin las exuberancias decorativas del rococó, más sencilla, y de clara influencia británica. Conviene recordar que desde mediados del siglo XVIII se vivió una auténtica anglomanía en la moda masculina francesa.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjwyA1pr4k3Z2wo470sYWtOTBGkq-vv6O75HloY3RMwHPPk4TO-EFJBPpXaIcUQ6HKtWWmiYIWupQgFW23uk3khRlgWOaudiMfQeWCq5F1Q8jrazQa9rRaF-QIo6YCHrXiLlL6xrqGWk/s1600/IMG-1078.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1407" data-original-width="1193" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjwyA1pr4k3Z2wo470sYWtOTBGkq-vv6O75HloY3RMwHPPk4TO-EFJBPpXaIcUQ6HKtWWmiYIWupQgFW23uk3khRlgWOaudiMfQeWCq5F1Q8jrazQa9rRaF-QIo6YCHrXiLlL6xrqGWk/s640/IMG-1078.jpg" width="542" /></a></div>
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<span style="font-size: large;"><span style="font-size: xx-small;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"> Ejemplo de indumentaria de un ciudadano francés patriota y revolucionario, c. 1789-93, Museo de las Artes de la Moda, París, Colección U.F.A.C.</span></span></span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">La indumentaria de los ciudadanos en tiempos de la revolución consistía en un <i>redingote</i> -una especie de casaca, de algodón y lino tejido a rayas tricolores; un chaleco de rayas y calzones (en la imagen de negro satén). Las medias también tricolores y zapatos negros con hebillas sencillas.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">En ocasiones llevaban sombreros bicornios con plumas tricolores.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0h8SxypPrykCWr-RIRVjXrDcOi1zHzZAFCkC8zCxjnsPCehcrpedJTTAKYh1ZqEWsOnO3t4IMaSJofA8TKPyQSXdWFYo6ESS5Y03RuI7yfqf45XME4kL9KJNDXDu0GjImXaoMe3M5Ovg/s1600/IMG-1084.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="851" data-original-width="707" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0h8SxypPrykCWr-RIRVjXrDcOi1zHzZAFCkC8zCxjnsPCehcrpedJTTAKYh1ZqEWsOnO3t4IMaSJofA8TKPyQSXdWFYo6ESS5Y03RuI7yfqf45XME4kL9KJNDXDu0GjImXaoMe3M5Ovg/s640/IMG-1084.jpg" width="530" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif"> <span style="font-size: large;">Retrato de Robespierre de autor desconocido, c. 1792, Museo Carnavalet, París.</span></span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">El caso más paradójico es el del "Incorruptible" Maximilian Robespierre, lider de los jacobinos, una de las figuras más carismáticas y sanguinarias del proceso revolucionario, particularmente de la etapa del Terror (1792-94). Fue todo un dandi, siempre impecablemente vestido. En esta imagen va vestido con un elegante<i> habit à la anglaise.</i></span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Danton, otro líder de la Convención, también era muy elegante.</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Por cierto, todos los anteriormente citados </span><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: x-large;">murieron guillotinados en la Revolución, menos Marat que fue asesinado por Charlotte Corday.</span></span></div>
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<b><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">FUENTES DE DOCUMENTACIÓN</span></b></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Bosan, Marie-Josèph, <i>El arte del zapato</i>, Edimat Libreros, Madrid, 2008.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Galeano Pérez, A., <i>Atlas ilustrado. El peinado, historia y presente</i>, Madrid, Ed. Susaeta,</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Laver, J., <i>Breve historia del traje y la moda, </i>Madrid, Cátedra, 1988.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*Rudé, George, <i>La Europa revolucionaria. 1783-1815</i>, Historia de Europa Siglo XXI, Madrid, 1985.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"><span style="font-size: x-large;">*VVAA, </span><i><span style="font-size: x-large;">Moda. Historia y Estilos</span></i><span style="font-size: x-large;">, DK, 2012.</span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">*VVAA, <i>The Age of Napoleon. Costume from Revolution to Empire</i>, 1789-1815, MET, New York, 1989.</span></div>
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<b><span style="font-size: x-large;">RECURSOS WEB</span></b></div><div style="caret-color: rgb(75, 75, 75); color: #4b4b4b; text-align: justify;"><span style="font-size: x-large;"><a href="https://historiadeltraje.com/tag/revolucion-francesa/">La Revolución francesa, Historia del Traje. </a><br /></span></div><div style="caret-color: rgb(75, 75, 75); color: #4b4b4b; text-align: justify;">
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<span style="font-size: large;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;"><b>VIDEO EDUCATIVO SOBRE LA REVOLUCIÓN FRANCESA EN 14 MINUTOS</b></span></span><br />
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<span style="font-size: x-large;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ttdq818TGD0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ttdq818TGD0?feature=player_embedded" width="320"></iframe></span></div>
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<b><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">PELÍCULAS AMBIENTADAS EN LA REVOLUCIÓN FRANCESA</span></b><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Entre las películas recomendables sobre la Revolución francesa podemos destacar "Historia de una revolución" (Robert Enrico y Richard T. Heffron, 1989). </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Es un film apasionante desde todos los puntos de vista: en la narración de los hechos históricos, los actores, la ambientación y la moda, etc. </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;"><i>Les Années Lumière</i></span></div>
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<span style="font-size: x-large;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ZJsopmGu42M/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ZJsopmGu42M?feature=player_embedded" width="320"></iframe></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;"><i>Les Années Terribles</i></span></span><br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6ugk2V0hREw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6ugk2V0hREw?feature=player_embedded" width="320"></iframe></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: medium;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: x-large;">Otra de mis películas favoritas sobre esta etapa, aparte de la "Maria Antonieta" de Sofia Coppola (2006), impresionante en el capítulo de la moda de la época prerrevolucionaria, es "La Inglesa y el Duque" del siempre genial Éric Rohmer (2001): me encantan los decorados pintados, la trama, la indumentaria, etc.</span></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vjNgs3aZRcA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vjNgs3aZRcA?feature=player_embedded" width="320"></iframe></div>
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<span face=""arial" , "helvetica" , sans-serif"><span face=""arial" , "helvetica" , sans-serif" style="font-size: medium;"><span style="font-size: x-large;">Y aunque nos salimos de la cronología de la Francia revolucionaria, no está de más aludir a la excelente miniserie sobre "Napoleón" (</span></span><span style="font-size: x-large;">Yves Simoneau, 2002), absolutamente recomendable.</span></span><br />
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com4tag:blogger.com,1999:blog-8265587279902146571.post-78072430538786648562023-02-14T11:57:00.000+01:002023-02-14T11:57:46.735+01:00LA INFLUENCIA DEL ARTE BIZANTINO EN LOS DISEÑOS DE JOYAS Y MODA CONTEMPORÁNEOS: DOLCE Y GABBANA<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXREdyid8rLa0PLcv0lgZf8I-9W4Hqd_2qyUq2ns8n1KbA2u69Uf_h9JflLKlkP5OUKQleekkLEB2IL1ivaoH0XdDy98iHJh9E724Yvff54d1IUOiGRlrASOBcBy3wbniQmphl6um01Ovy/s1600/teodora1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXREdyid8rLa0PLcv0lgZf8I-9W4Hqd_2qyUq2ns8n1KbA2u69Uf_h9JflLKlkP5OUKQleekkLEB2IL1ivaoH0XdDy98iHJh9E724Yvff54d1IUOiGRlrASOBcBy3wbniQmphl6um01Ovy/s640/teodora1.jpg" width="510" /></a></div>
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¡<span style="font-size: x-large;">Saludos! </span></div>
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<span style="font-size: x-large;">La influencia del arte medieval, en concreto del arte bizantino, se deja sentir en los diseñadores contemporáneos. A <b>Chanel, Alexander McQueen y Christian Lacroix</b> entre otros, se les suma ahora los italianos Dolce -siciliano- y Gabbana -veneciano-. Recordemos los maravillosos ejemplos de arte bizantino conservados en Sicilia como en <b>Monreale</b> o <b>Cefalú</b> y la conexión comercial y cultural durante siglos entre la Serenísima y Constantinopla. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXc68_tinxbVeypCX8y4waqV_Xh5VB90sbRymt1WvxJMGHX3kAa5HPdt3RsJSmoZjOUyQPVePqp3_a1vc9AIihRAyN6VvbsR5y8bALLom4fPsqltJVWow_d1oU3tiLBCdvkQdGQidPA2-/s1600/a.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXc68_tinxbVeypCX8y4waqV_Xh5VB90sbRymt1WvxJMGHX3kAa5HPdt3RsJSmoZjOUyQPVePqp3_a1vc9AIihRAyN6VvbsR5y8bALLom4fPsqltJVWow_d1oU3tiLBCdvkQdGQidPA2-/s640/a.tiff" width="640" /></a></div>
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<span style="font-size: x-large;">Por lo demás, no olvidemos que los mosaicos bizantinos que se conservan en la iglesia de San Vital de Rávena -en la Emilia-Romaña- son los que más transcendencia han tenido en la historia del Arte: Justiniano y su séquito y Teodora y su séquito.</span></div>
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Justiniano y su séquito y Teodora y su séquito, San Vital de Rávena, siglo VI</div>
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Pantócrator de Monreale (Sicilia)</div>
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Ángel de la Catedral de Cefalú (Sicilia)</div>
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Fachada e Interior de la basílica bizantina de San Marcos de Venecia, comenzada en el siglo XI</div>
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La Pala d´oro, una verdadera obra maestra de la orfebrería medieval. Se conserva en el altar de San Marcos de Venecia (siglos X-XIV)</div>
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<span style="font-size: x-large;">La colección invierno 2014 de <b>Dolce & Gabbana</b> no puede ser más espectacular. Si Justiniano y Teodora se levantaran de su tumba, y la vieran, se quedarían ¡encantados!</span></div>
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<span style="font-size: x-large;">Aquí os dejo algunos ejemplos:</span><br />
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<span style="font-size: x-large;">Más información en la web de </span><a href="http://www.dolcegabbana.com/dg/fashion-show/" style="font-size: xx-large;">Dolce & Gabbana.</a></div>
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com2tag:blogger.com,1999:blog-8265587279902146571.post-89023331239130064372023-01-20T16:45:00.001+01:002023-01-20T16:46:54.884+01:00CRISTÓBAL BALENCIAGA, EL MAESTRO DE LA ALTA COSTURA<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La modelo Dovima con un diseño de Balenciaga en 1955. Café des Deux Magots, París</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>"El prestigio es más importante que la fama. El prestigio permanece, la fama es efímera".</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Cristóbal Balenciaga</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;"><span style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif;"><b>CRISTÓBAL BALENCIAGA </b></span></span><b style="font-family: arial, helvetica, sans-serif;"><span lang="ES-TRAD" style="color: black; font-family: "candara"; mso-ansi-language: ES-TRAD; mso-themecolor: text1;">(1895-1972)</span></b><span lang="ES-TRAD" style="font-family: "candara";">, está considerado como el Maestro por antonomasia de la Alta Costura
del siglo XX. El arte hecho moda y la perfección personificada.</span></span></span><br />
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<span lang="ES-TRAD" style="font-family: "candara";"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Balenciaga nació cerca de San Sebastián (Guipúzcoa, País Vasco), en una
pequeña villa marinera vasca, llamada <b style="mso-bidi-font-weight: normal;">Guetaria,</b><b style="mso-bidi-font-weight: normal;"> </b><span style="mso-spacerun: yes;"> </span>patria chica de Juan Sebastián
Elcano (1476-1526), el primer marino en lograr la hazaña de circunnavegar el
globo en la expedición Magallanes-Elcano (1522).</span></span></span><br />
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "candara";">Nació en el seno de una </span><b style="font-family: Candara;">familia</b><span style="font-family: "candara";"> humilde y católica</span><span style="font-family: "candara";">. Sentía adoración por su familia, en especial por su madre. El</span><span style="font-family: "candara";"> padre era pescador y la madre costurera. Por el taller de
costura de su madre pasaban lujosos diseños venidos de París que llevaban las
aristócratas que veraneaban en Guetaria y en San Sebastián y que su madre
arreglaba. Sin duda esos vestidos causarían admiración en el joven Balenciaga,
quien desde peq</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">ueño mostró un gran interés por la costura y la moda. Recordemos
que San Sebastián, llamada –la bella Easo- veraneaban lo más granado de las
clases pudientes de los inicios del siglo XX. Allí los monarcas españoles
disfrutaban de los baños de mar y fueron imitados por ricos burgueses y
aristócratas. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></span></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Entre las clientas de su madre destacaba la <b>marquesa de Casa Torres</b> -abuela de la que luego sería la reina Fabiola de Bélgica-. Esta aristócrata de gusto exquisito fue su primera mentora: costeó sus estudios de
costura con un sastre en Burdeos (Francia). Así, llegó a dominar el oficio de la costura en toda su dimensión, empezando desde abajo.</span></span></span><br />
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">D</span><span style="font-family: "arial" , "helvetica" , sans-serif;">e carácter discreto y reservado -nunca concedía entrevistas-, talento y arrojo no le faltaban así como <span style="mso-spacerun: yes;"> </span>una <b style="mso-bidi-font-weight: normal;">capacidad de trabajo</b> inagotable y una búsqueda de la excelencia y la perfección hasta en los mínimos detalles. También fue un innovador<b style="mso-bidi-font-weight: normal;"> empresario.</b> En San Sebastián trabajó en
diversos negocios ligados a la moda hasta que creó su propio taller en 1919, que luego ampliaría con la firma "EISA", su marca en Barcelona y Madrid.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="superguay">
<div style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Cuando estalla la guerra civil española en 1936 viaja a Londres para luego establecerse en <b>París</b> donde crearía su <i>Maison. </i>Allí presentó su primera colección en 1937 con un éxito inmediato e incontestable. Elevó la moda a la categoría de <b>arte</b>. Cecil Beaton lo denominó <b>"el Picasso de la moda".</b></span></span><br />
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Forjado desde sus inicios en el sistema de la <b>Alta Costura</b> (<i style="mso-bidi-font-style: normal;">Haute Couture</i> en francés), conocía a
fondo a modistos, proveedores y clientas, poseía su propio y personalísimo
ideario estético, patente a lo largo de toda su carrera, hasta el cierre de su
taller en <b style="mso-bidi-font-weight: normal;">1968</b>.<o:p></o:p></span></span></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Conviene recordar que la <b>Alta Costura</b> es el sector de la moda –específicamente parisiense- caracterizada por diseños únicos y
exclusivos de gran calidad y elevado precio. Realizados artesanalmente, son creaciones firmadas y por tanto, de diseño original. La alta costura es el epítome del lujo.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Su <b style="mso-bidi-font-weight: normal;">clientela</b> abarcaba desde
la realeza (española y belga) hasta aristócratas (la duquesa de Windsor, la condesa de Bismarck, la marquesa de LLanzol), actrices (Grace Kelly, Ava Gardner, Ginger Rogers) y celebridades de los años 30, 40, 50 y
60.<o:p></o:p></span></span><br />
<span lang="ES-TRAD"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJS-gxuKNEGsbsEVYuIjmNKXUn2QEiY3Tk3yQstmp8OM1MKO6aph8pk_YOECj81Th035gIA8ezl_OqElBqORfsD4-WuYDwQIbkEAdtYyRUtHss9gFhVuUZG_uOyO2kVnOHi2xjao6Wyh4/s1600/AVA-GARDNER.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJS-gxuKNEGsbsEVYuIjmNKXUn2QEiY3Tk3yQstmp8OM1MKO6aph8pk_YOECj81Th035gIA8ezl_OqElBqORfsD4-WuYDwQIbkEAdtYyRUtHss9gFhVuUZG_uOyO2kVnOHi2xjao6Wyh4/s640/AVA-GARDNER.jpg" width="512" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> La actriz Ava Gardner con un diseño de Balenciaga en los años cincuenta</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtb4B3kIssIYNqOuxmEzkgartuxkw89DRRMApxBVD0Y2TIi8LaRWpdGBFBlpROl23JEigeujF3tks2IJm19oVMktvYR7wMJgerzutomDZz1nma0opsHxYf7jRe_HWFkI6MwkdvviSNjUw/s1600/GRACE-KELLY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtb4B3kIssIYNqOuxmEzkgartuxkw89DRRMApxBVD0Y2TIi8LaRWpdGBFBlpROl23JEigeujF3tks2IJm19oVMktvYR7wMJgerzutomDZz1nma0opsHxYf7jRe_HWFkI6MwkdvviSNjUw/s640/GRACE-KELLY.jpg" width="512" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> La actriz Grace Kelly, convertida en Princesa de Mónaco, llevando un diseño de Balenciaga en 1959</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfcsNdtLQvQ6Bi6xWc0cYjr100cewrg3RmrtVu-aLeF060IXIsSeOkg-c2Nv3WHANPiXsWVn4h9aWq32MqDV4ObsP2_AfhM7RQ3DcAgC5tKu8_Px99p6dZBRM4kR2fuaqzPFlAJ0iWmqw/s1600/GRACE-KELLY-MUSEO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfcsNdtLQvQ6Bi6xWc0cYjr100cewrg3RmrtVu-aLeF060IXIsSeOkg-c2Nv3WHANPiXsWVn4h9aWq32MqDV4ObsP2_AfhM7RQ3DcAgC5tKu8_Px99p6dZBRM4kR2fuaqzPFlAJ0iWmqw/s640/GRACE-KELLY-MUSEO.jpg" width="512" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> La chaqueta, de corte torero, es un conjunto de brocado en hilos de plata de diferentes colores. Museo Cristóbal Balenciaga</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1JlTNi7t4bFE19M4XXNLgHDj5wmmdCJg3ynmvdjke53uVMHrsC1HOxnr0wGD0CiTswDas0FZfgEcctCGwkkiDmMtT1cd7YOkEqxT2iz9VTRbyvmgYFFLkkm3stPnnIsWonXXIG7VOUN0/s1600/fabiola.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1200" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1JlTNi7t4bFE19M4XXNLgHDj5wmmdCJg3ynmvdjke53uVMHrsC1HOxnr0wGD0CiTswDas0FZfgEcctCGwkkiDmMtT1cd7YOkEqxT2iz9VTRbyvmgYFFLkkm3stPnnIsWonXXIG7VOUN0/s640/fabiola.jpg" width="640" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> El elegante y sobrio vestido de la reina de los belgas, la española Fabiola de Mora y Aragón. 1960</span><br />
<br /></div>
<div class="superguay" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BVFJPdiMqxIykZiu4AktyMaaylaWZKDiBfm6tVizMaJDa1pCRW0CKOhdxbBHb66zDdPYsO-L8HIFPAPBXDFnh9Lwe3j92VEGs61eNoqGt4SBCLVYG_mL9Nky0Xu74ZUntLTQBtXX9_M/s1600/frase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="1080" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BVFJPdiMqxIykZiu4AktyMaaylaWZKDiBfm6tVizMaJDa1pCRW0CKOhdxbBHb66zDdPYsO-L8HIFPAPBXDFnh9Lwe3j92VEGs61eNoqGt4SBCLVYG_mL9Nky0Xu74ZUntLTQBtXX9_M/s640/frase.jpg" width="640" /></a></div>
<br />
<br /></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los <b>años cincuenta</b> y <b>sesenta</b> fueron su época dorada.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Entre
sus <b>influencias</b></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> descuella su amiga del alma, la
diseñadora Madeleine <b>Vionnet</b> y el diseño japonés. Sentía una gran fascinación por <b>Japón</b>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sus <b style="mso-bidi-font-weight: normal;">diseños </b>se caracterizan por:<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Su sentido <b>escultórico</b> -convierte a la mujer en una joya inserta en un impresionante estuche- y su estructura <b>arquitectónica</b>. Es austero, sobrio, purista y atemporal. Ello no es óbice para que inserte en sus diseños exquisitos bordados en seda, metal, lentejuelas o cristales.<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*El permanente
homenaje a través de sus trajes al <b>arte español </b>(El Greco, Zurbarán, Velázquez,
Goya, Zuloaga, etc.) y a la <b>cultura</b> española (toreo y flamenco).<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*La
elegancia y feminidad que aúnan <b>tradición</b> con <b>modernidad </b>y vanguardismo. Fue muy innovador.<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Las referencias a otras <b>épocas</b> <b>artísticas </b>como el Renacimiento, el Barroco o el siglo XVIII. Asimismo, le apasionaban los trajes regionales, desde Andalucía al País Vasco.</span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*La
<b>calidad</b> extraordinaria de tejidos, cortes y estructuras de sus trajes.<o:p></o:p></span></span><br />
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*La riqueza de la <b>paleta cromática</b> de sus diseños. Fueron muy célebres sus trajes de noche de color negro, pero dominaba los rosas, rojos, azules, etc.</span></span><br />
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Concedía una gran importancia a los <b>accesorios</b> como tocados y joyas.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> Vestido de noche de inspiración flamenca, Cristóbal Balenciaga, París, 1961. Fotografía de Cecil Beaton, © Cecil Beaton Studio Archive at Sotheby's</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> Lisa Fonssagrives-Penn con un abrigo de Cristóbal Balenciaga, Paris, 1950. Fotografiada por Irving Penn © Condé Nast, Irving Penn Foundation</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Alberta Tiburzi envuelta en un vestido de Cristóbal Balenciaga en 1967, Harper's Bazaar, June 1967 © Hiro 1967</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8q7YbNoqlb4FT_kBl49-e0Mv36cc7MyA5msp86vzGW45xP_28L8d7MrOV_17kLvfyKc51nAbcgk1ZZvuOA0vpSgcjTQH6rhh8I4-sXT6FAKXFO5SYe4tWv2dms_3npFNlHZyepRzHkA/s1600/wild-silk-dress-Balenciaga-2560.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="320" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8q7YbNoqlb4FT_kBl49-e0Mv36cc7MyA5msp86vzGW45xP_28L8d7MrOV_17kLvfyKc51nAbcgk1ZZvuOA0vpSgcjTQH6rhh8I4-sXT6FAKXFO5SYe4tWv2dms_3npFNlHZyepRzHkA/s640/wild-silk-dress-Balenciaga-2560.jpg" width="478" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Detalle de uno de los tejidos de seda salvaje con bordados de Lesage, 1960, © Victoria and Albert Museum, London</span><br />
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Claves de su estilo</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A lo anteriormente señalado cabe añadir:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">Vestido de línea imperio con mangas voluminosas, Balenciaga.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Abrigos con manga japonesa, Balenciaga.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Pasión por las mangas. Las mangas eran su obsesión. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sus vestidos daban libertad total de movimiento. </span><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Entre las más</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> características de sus diseños descuellan las </span><b style="font-family: arial, helvetica, sans-serif;">mangas melón. </b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Abrigo de Balenciaga con manga melón fotografiado por Irving Penn.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Los <b>vestidos-saco</b>, cómodos y amplios que diseñó en los años cincuenta. Este tipo de silueta era absolutamente nueva en la historia de la moda. Contrastan con la tendencia ajustada que era usual en esos años.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">Vestido-saco, Balenciaga, 1957.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Los </span><span style="font-size: x-large;"><b style="font-family: arial, helvetica, sans-serif;">vestidos "baby-doll"</b><span style="font-family: "arial" , "helvetica" , sans-serif;">,</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> aniñados y con mucho volumen. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Vestido "baby doll" diseñado por Balenciaga que perteneció a la marquesa de Llanzol, 1958</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Los vestido o abrigos de línea "tonneau" o en forma de <b>barril </b>y<b> las faldas-globo.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Conjunto de vestido y capa línea globo confeccionado en tafetan, Balenciaga.</span><br />
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<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*Los </span><b style="font-family: arial, helvetica, sans-serif;">vestidos "cola de pavo real"</b><span style="font-family: "arial" , "helvetica" , sans-serif;">, es decir, cortos por delante y largos por detrás.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Vestido de noche de la tipología de "cola de pavo real" de 1957, Balenciaga. Perteneció a Rachel L. Mellon.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Vestido de novia de la tipología de "cola de pavo real" de 1966, Balenciaga. Presenta bordados con motivos florales. </span><br />
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<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*Los </span><b style="font-family: arial, helvetica, sans-serif;">vestidos túnica</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> de silueta tubular.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> Vestido de noche, Balenciaga, 1964. Fue llevado por la marquesa de Llanzol.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Los favorecedores <b>cuellos desbocados </b>-como los llama Sonsoles Díaz de Rivera-, hija de la marquesa de Llanzol, inspirados en los kimonos. Permitían lucir la nuca y las joyas.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ChCfrhegL5-LEseldY34W-8Upev_F2oCrwBuo-GEANYiGnho6xhg5XOIIEk3LzFqR_BaDrYiQPaEG3VHVy11c5GCIWU3A_ZwzndJR-DTGKljyvWy2uMJVz1eG9wpp3OWr1navDuJ4tI/s1600/DOVIMA+C+1950.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ChCfrhegL5-LEseldY34W-8Upev_F2oCrwBuo-GEANYiGnho6xhg5XOIIEk3LzFqR_BaDrYiQPaEG3VHVy11c5GCIWU3A_ZwzndJR-DTGKljyvWy2uMJVz1eG9wpp3OWr1navDuJ4tI/s640/DOVIMA+C+1950.jpg" width="448" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"> La modelo Dovima con un impresionante vestido de Balenciaga, c. 1950, retratada por Richard Avedon.</span><br />
<br />
<br /></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre
su fortuna crítica y <b style="mso-bidi-font-weight: normal;">valoración</b>:<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Balenciaga
era muy hermético. Rival de <b>Dior, </b>el
creador del exitoso <i style="mso-bidi-font-style: normal;">New Look </i>(1947), este diseñador francés consideraba a Balenciaga como el maestro de todos nosotros.</span></span><br />
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Por su parte, <b>Coco Chanel</b> dijo de él que era el único en confeccionar una prenda perfecta de
principio a fin con sus propias manos, directamente sobre la modelo, mientras
que todos los demás eran meros “diseñadores”.<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Fue el modista
más caro de París y entre sus clientas estaban las mujeres más ricas del mundo.<o:p></o:p></span></span></div>
<div class="superguay" style="text-align: justify;">
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<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Cristóbal Balenciaga trabajando en Paris, 1968. Henri Cartier-Bresson © Henri Cartier-Bresson, Magnum Photos</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Dejó una honda influencia en la moda contemporánea, particularmente en sus discípulos <b>Oscar de la Renta, André Courrèges, Emanuel Ungaro</b> y también en <b>Hubert de Givenchy, </b>recientemente fallecido. Givenchy lo definió como "el arquitecto de la alta costura". </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El gran escultor vasco <b>Eduardo Chillida</b>, amigo del modisto, le dedicó una de sus obras, "Homenaje a Balenciaga", 1990:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Este
diseñador legendario murió en Jávea en <b>1972</b>, solo cuatro años después de haber
cerrado su <i>Maison</i></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> ante la eclosión
del <b>Prêt-à-porter</b>, aunque llegó a realizar una colección para <b>Air France</b> dentro de los nuevos parámetros de la moda "lista para llevar":</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Desde 1978 la marca que Cristóbal </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Balenciaga puso en marcha en 1919 ha pasado por distintas manos. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Hoy pertenece a una multinacional francesa llamada Kering.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En su tierra
natal, <b>Guetaria,</b> se conserva un espectacular <b style="mso-bidi-font-weight: normal;">museo</b> dedicado a su obra.</span></span></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Aquí os dejo algunas fotos que mi amiga Obdu Ferrer hizo de esa villa marinera y de la impresionate institución artística dedicada a Balenciaga: </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Videos y Recursos en Red sobre Cristóbal Balenciaga</span></span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Videos</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Video <a href="http://www.rtve.es/alacarta/videos/la-aventura-del-saber/aventura-del-saber-cristobal-balenciaga/1271676/">La Aventura del Saber sobre Balenciaga</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Video <a href="http://www.rtve.es/alacarta/videos/flash-moda-monograficos/solo-moda-balenciaga-arte-alta-costura/1269345/">Flash-Moda monográfico Balenciaga</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Video <a href="http://www.rtve.es/alacarta/videos/flash-moda-monograficos/solo-moda-balenciaga-arte-alta-costura/1269345/">Balenciaga, arquitecto de la moda</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Video <a href="https://www.youtube.com/watch?v=VGrwn24aN_A">Museo Cristóbal Balenciaga</a></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Recursos en Red</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="http://www.cristobalbalenciagamuseoa.com/">Web del Museo Balenciaga</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="http://www.mecd.gob.es/mtraje/dms/museos/mtraje/biblioteca/publicaciones/publicaciones-periodicas/modelo-mes/ediciones-anteriores/2004/11-2004-pieza/11-2004%20pieza.pdf">Publicaciones del Museo del Traje de Madrid.</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="https://artsandculture.google.com/exhibit/ywJyh4WFJqdgIg">Google Arts and Culture</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="http://historiadeltraje.blogspot.com.es/search/label/37.%20Moda%20y%20Racionalismo%20%28%3DMovimiento%20Moderno%29">Blog de Pablo Pena.</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="https://www.prospectmagazine.co.uk/magazine/cristobal-balenciaga-a-master-of-fashion">Balenciaga, a Master of Fashion</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*<a href="https://www.vam.ac.uk/exhibitions/balenciaga-shaping-fashion">Balenciaga, Shaping Fashion at V&A</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Agradecimientos</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A OBDU FERRER por las fotografías de Guetaria y del Museo Balenciaga de esa localidad.</span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com1tag:blogger.com,1999:blog-8265587279902146571.post-67448000603123762902022-12-15T11:53:00.000+01:002022-12-15T11:53:52.418+01:00SURREALISMO, RECURSOS EN RED<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo fue un movimiento de vanguardia artístico-literario surgido en Francia a partir del Dadaísmo, en el primer cuarto del siglo XX. En concreto, fue fundado en 1924 en Paris. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTlFHKfiw6cYdn6Pppuw-aqmSSvGSh6JMWjINnLOpBZG3jBCLSWhQxqzIFy3yY77-508Sbh7v4IsSHIsX6wdAZIOKo332i4Z4osxVOsUcU9hBV-7Wi2xtFYfVQfxA_RANn2QcXMpX3PIm/s1600/1924+surrealista-307.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTlFHKfiw6cYdn6Pppuw-aqmSSvGSh6JMWjINnLOpBZG3jBCLSWhQxqzIFy3yY77-508Sbh7v4IsSHIsX6wdAZIOKo332i4Z4osxVOsUcU9hBV-7Wi2xtFYfVQfxA_RANn2QcXMpX3PIm/s1600/1924+surrealista-307.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">El grupo surrealista en 1930: Tristan Tzara, Paul Éluard, André Breton, Jean Arp, Salvador Dalí, Yves Tanguy, Max Ernst, René Crevel y Man Ray.</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn72IDZyNodFvQDJDFoZ5nveiEu1JUFsxAt_sGmwYg1hhE_c2pbnLlXy8ydQAl_K_EhxHTK8RLAeFU8HHqqlR9DG6FpfIl5QjCwVG8LKCVHCY-Mq2HMnp_CxOJb3RJ2dAWUhifaJH4O4pK/s1600/RevolutionSurrealiste_1924.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn72IDZyNodFvQDJDFoZ5nveiEu1JUFsxAt_sGmwYg1hhE_c2pbnLlXy8ydQAl_K_EhxHTK8RLAeFU8HHqqlR9DG6FpfIl5QjCwVG8LKCVHCY-Mq2HMnp_CxOJb3RJ2dAWUhifaJH4O4pK/s1600/RevolutionSurrealiste_1924.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Mediante Manifiestos, esto es, textos de carácter reivindicativo, muy usuales en el arte de vanguardia, expusieron su ideario estético. Su punto de partida fue la publicación del “Primer Manifiesto Surrealista” por el escritor francés André Breton. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivx_ETNsicX4q0RvrAD0XalLR3j0zMT3rCYVGWDGC3J1r3LjWcwi007qLRc-VrxxSNdDBq0zNNxMJ5fIVABQWOs9Q-GmR-vUqbh8KvEtL8lmLz1LARzhsF1X9t2UWagUVJ8vkMF8AylFzD/s1600/NADJA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivx_ETNsicX4q0RvrAD0XalLR3j0zMT3rCYVGWDGC3J1r3LjWcwi007qLRc-VrxxSNdDBq0zNNxMJ5fIVABQWOs9Q-GmR-vUqbh8KvEtL8lmLz1LARzhsF1X9t2UWagUVJ8vkMF8AylFzD/s1600/NADJA.jpg" width="442" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En principio era un movimiento de y para escritores, pero de inmediato se vislumbraron las enormes posibilidades que tenían para la pintura y la escultura. Pronto se distinguieron dos modos de hacer arte surrealista. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El arranque predominantemente literario del surrealismo explica la total ausencia de un código o fórmulas plásticos. Así, el surrealismo artístico no tenía ninguna técnica precisa, no posee unidad formal. De una parte, los pintores que seguían defendiendo el automatismo como mecanismo libre de la intervención de la razón; entre los más destacados están Joan Miró y André Masson. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdsS980D4jnPvDrLA2MJnRzNYjbmFqpT-CxF4oKFiVLrSt7Yz4uLyxUdPwPT_dDRwCOyL6tLLXBCd3oRlfg_04B1yhMvLCtDit8MuRciZrZvSRwsAjquRRmpsp0h9-WkhyphenhyphennOH7O2ANrNc/s1600/miro_le_carnaval_d_arlequin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdsS980D4jnPvDrLA2MJnRzNYjbmFqpT-CxF4oKFiVLrSt7Yz4uLyxUdPwPT_dDRwCOyL6tLLXBCd3oRlfg_04B1yhMvLCtDit8MuRciZrZvSRwsAjquRRmpsp0h9-WkhyphenhyphennOH7O2ANrNc/s1600/miro_le_carnaval_d_arlequin.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Joan Miró, <i>el carnaval del arlequín</i>, 1924</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VSuEmMv7XTbeiRRl51K6QsaYeHUJSReSZoCejCkGfpiS8IDW_GmHyQ_d9zzUclanV5Q2xfOEBo3LL5C7VloRkyvM-oxV0v69VpxKqlnfwQwjTP5agbVyyEOpqdnI3lHAK4aINoJyWIAt/s1600/Masson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VSuEmMv7XTbeiRRl51K6QsaYeHUJSReSZoCejCkGfpiS8IDW_GmHyQ_d9zzUclanV5Q2xfOEBo3LL5C7VloRkyvM-oxV0v69VpxKqlnfwQwjTP5agbVyyEOpqdnI3lHAK4aINoJyWIAt/s1600/Masson.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">El pintor surrealista André Masson en su taller de Aix, 1952</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">De otra, cada vez adquirió más fuerza la opinión de quienes creían que la figuración naturalista podía ser un recurso igual de válido. Es el caso de Salvador Dalí, René Magritte, Paul Delvaux o Yves Tanguy. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSuqFc1KFT4hkTvwDfXprqKhM8X5WBNbQY6DQ2ymOJ8VSfMDijL_NbzAYRH14yW9c-3zigz0UsCVcXRh6MmKqzUVnD0A9EVdMJaOV0mzTli1NuXbRmfzdfPhb7Jg99fPArr57qfF9Eacp/s1600/Magritte+-Les+compagnons+de+la+peur+1942.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSuqFc1KFT4hkTvwDfXprqKhM8X5WBNbQY6DQ2ymOJ8VSfMDijL_NbzAYRH14yW9c-3zigz0UsCVcXRh6MmKqzUVnD0A9EVdMJaOV0mzTli1NuXbRmfzdfPhb7Jg99fPArr57qfF9Eacp/s1600/Magritte+-Les+compagnons+de+la+peur+1942.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">René Magritte, <i>Les compagnons de la peur</i>, 1942</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gcCd9ZoSVP1bW97-2HqyGjrS56O2sd8JWWtelVr_sLUls5MBcNPLO9kRhC4IOkBgEsGUFSOhFYo8B1mmCxo7P3sq2fSRX8_BEBVt2fZTJrpGj_renxA5s2CbiMrm2fMfwqdkjKOdUmK9/s1600/PaulDelvaux.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gcCd9ZoSVP1bW97-2HqyGjrS56O2sd8JWWtelVr_sLUls5MBcNPLO9kRhC4IOkBgEsGUFSOhFYo8B1mmCxo7P3sq2fSRX8_BEBVt2fZTJrpGj_renxA5s2CbiMrm2fMfwqdkjKOdUmK9/s1600/PaulDelvaux.jpg" width="578" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Paul Delvaux, <i>la ventana</i>, 1936</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnK8unicsC3AM3zBEgqTnHa6l0SroRyAnNKAFUohBcBLk-jQiUCTekniFCazHL9ngIUX6lZxeZvQDgbYMIf7IoZbuhHBVIZs5mBKrMbf621cYzu_KW-4JBcpOOkUw2RnWiVUPWrBUSNzMN/s1600/rene_magritte,_amantii.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnK8unicsC3AM3zBEgqTnHa6l0SroRyAnNKAFUohBcBLk-jQiUCTekniFCazHL9ngIUX6lZxeZvQDgbYMIf7IoZbuhHBVIZs5mBKrMbf621cYzu_KW-4JBcpOOkUw2RnWiVUPWrBUSNzMN/s1600/rene_magritte,_amantii.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">René Magritte, <i>los amantes</i>, 1928</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdPRLxQYUYxqSxKh_sKvhMJWnNR4llfC8LehSRT-z_GDYVTv064E_ZP4BABLacdon8QfpI1gb8Do1BTDtIVkaP8mvgfjsbAkQMfmA-TYqnnctq_XelDqV8trY47F-iDmoimpOJYmz2iUPc/s1600/Salvador-Dali-Voltaire.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdPRLxQYUYxqSxKh_sKvhMJWnNR4llfC8LehSRT-z_GDYVTv064E_ZP4BABLacdon8QfpI1gb8Do1BTDtIVkaP8mvgfjsbAkQMfmA-TYqnnctq_XelDqV8trY47F-iDmoimpOJYmz2iUPc/s1600/Salvador-Dali-Voltaire.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Salvador Dalí, <i> el mercado de esclavos</i>, 1940. En esta imagen doble se aprecia el busto de Voltaire</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los surrealistas, en líneas generales, fueron un grupo compacto y dogmático, capitaneado por el escritor André Breton. Crearon revistas surrealistas como “Minotauro” o “La revolución surrealista” donde se publicaban textos, dibujos, fotografías…… </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhludCYZRBY6ScDLvbTBSFAXtVBaUMz1dqOk-646F-TPZNbCar1zbDfts1vkBeKi4-jTBy_9Lu68UTSzWL12f0l-X5YiWWNBGiq-RTSouR8NFrcHCTDoMBxkv-DzXc12KS6OySqP7ERCJtB/s1600/casa+breton.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhludCYZRBY6ScDLvbTBSFAXtVBaUMz1dqOk-646F-TPZNbCar1zbDfts1vkBeKi4-jTBy_9Lu68UTSzWL12f0l-X5YiWWNBGiq-RTSouR8NFrcHCTDoMBxkv-DzXc12KS6OySqP7ERCJtB/s1600/casa+breton.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Interior de la casa de André Breton en la que podemos apreciar su colección de arte africano y surrealista</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo trataba de plasmar el mundo de los sueños, del subconsciente y la imaginación que escapan a la razón humana. Así, presentaban una clara influencia de las doctrinas de Freud y sus teorías del psicoanálisis. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los surrealistas reivindicaban el azar o la sorpresa, sin ninguna intención de crear cosas bellas o morales. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mbRcXGgs0F61AFVOhd17h6uJ4jZtu0mX-89Lc7FqyzDnXzLdUmei7kmQo0xnQp1MQ2UNks11nkL4C8nu6oTnWQ-252tQz0SBPc3ha2qgkaFsJokY4sMKd-w85ZlEK01GrIlqCF0w3p-D/s1600/bosco.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mbRcXGgs0F61AFVOhd17h6uJ4jZtu0mX-89Lc7FqyzDnXzLdUmei7kmQo0xnQp1MQ2UNks11nkL4C8nu6oTnWQ-252tQz0SBPc3ha2qgkaFsJokY4sMKd-w85ZlEK01GrIlqCF0w3p-D/s1600/bosco.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Detalle de <i>El jardín de las delicias</i> de El Bosco, 1500</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Detalle de la representación manierista del verano realizada por el pintor italiano Arcimboldo. Este pintor, el Bosco, Goya o el metafísico Giorgio de Chirico fueron referentes esenciales para los artistas surrealistas</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Se les considera los nuevos “románticos” ya que el Surrealismo vendría a ser como una herencia última del Romanticismo (componentes literarios, imaginativos, valoración de la libertad absoluta). Pero el Surrealismo fue también heredero del Dadaísmo: la actitud polémica frente a la realidad, la actitud de unir arte con vida, etc.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo presenta múltiples influencias: el pintor El Bosco (pintor flamenco 1450-1516), el manierista Arcimboldo, o la pintura metafísica italiana (se desarrolla entre 1911-15 y su máximo representante es Giorgio de Chirico). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PAx5GOgCw25WSVZihGhNksYzYvVIQF599SBCnfn4dR4G3bkAHcJ6QeGFGtqzW8zzuIvc_AekFIC2zYc6SjtwZcnmHl-WHq9vBlUzXSVG3oxijLJana66w1WUGszthtq0memc4cjloBn9/s1600/Giorgio+de+Chirico+-+Song+of+Love+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PAx5GOgCw25WSVZihGhNksYzYvVIQF599SBCnfn4dR4G3bkAHcJ6QeGFGtqzW8zzuIvc_AekFIC2zYc6SjtwZcnmHl-WHq9vBlUzXSVG3oxijLJana66w1WUGszthtq0memc4cjloBn9/s1600/Giorgio+de+Chirico+-+Song+of+Love+.jpg" width="516" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Giorgio de Chirico, <i>canción de amor,</i> 1914</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El arte surrealista investigó nuevas técnicas, como el frottage (dibujos compuestos por el roce de superficies rugosas contra el papel o el lienzo), la decalcomanía (aplicar gouache negro sobre un papel el cual se coloca encima de otra hoja sobre la que se ejerce una ligera presión, luego se despegan antes de que se sequen), el cadáver exquisito (en la cual varios artistas dibujaban las distintas partes de una figura o de un texto sin ver lo que el anterior había hecho pasándose el papel doblado) o la pintura automática. También se interesaron por la expresión de colectivos a los que apenas se había prestado atención en el pasado. El arte de los pueblos primitivos, el arte infantil, el de los dementes, etc. fue revalorizado desde entonces. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Decalcomanía realizada por Oscar Domínguez con Marcel Jean: <i>El león-la ventana, </i>1936. Gouche sobre papel</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Etapas del Surrealismo: La duración del Surrealismo es muy extensa, desde 1924 hasta el final de la Segunda Guerra Mundial. En una primera etapa, durante los años 20 se va configurando el movimiento: se celebra la primera exposición surrealista en París en 1925. Breton se adhiere al partido comunista. En 1929 Breton publica el Segundo Manifiesto Surrealista. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Durante una segunda etapa, en los años 1930, el movimiento se extendió más allá de las fronteras francesas. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En 1938 tuvo lugar en París la Exposición Internacional del Surrealismo que marcó el apogeo de este movimiento antes de la guerra. Participaron entre otros, Marcel Duchamp, Dalí, Man Ray y Óscar Domínguez. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La capacidad de promoción del Surrealismo fue excepcional, se celebraron exposiciones en todo el mundo. El surrealismo se difundió por toda Europa (Bélgica, España, Yugoslavia, Inglaterra, Checoslovaquia...), incluso por Japón. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: justify;">Fotogramas de la magnífica película de Alfred Hitchcock </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: medium; text-align: justify;">Recuerda</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; text-align: justify;">, con decorados surrealistas de Dalí, 1945</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Una tercera etapa coincide con el estallido de la Segunda Guerra Mundial, ya que casi todos los miembros del grupo se trasladan a Estados Unidos, donde siembran el germen para los futuros movimientos americanos de posguerra (expresionismo abstracto y el Pop Art).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En la vertiente cinematográfica, el surrealismo dio lugar a magníficas obras, como <i>La estrella de mar</i> (1928), de Man Ray. Luis Buñuel, en colaboración con Dalí, realizó las obras más revolucionarias: <i>Un perro andaluz</i> (1928) y <i>la edad de oro</i>, (1930). Alfred Hitchcock y Salvador Dalí colaboraron cuando el primero encargó al artista catalán parte de la escenografía de Recuerda.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo penetró la actividad de muchos artistas europeos y americanos en distintas épocas. PABLO PICASSO se alió con el movimiento surrealista en 1925; Breton declaraba este acercamiento de Picasso calificándolo de «...surrealista dentro del cubismo...».</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Pablo Picasso, <i>el sueño</i>, 1932. En esta espléndida obra, Picasso retrató a su amada Marie-Thérese Walter</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo es, junto al Cubismo, la vanguardia en la que la presencia de artistas españoles es más notoria. Joan Miró , Salvador Dalí y Oscar Domínguez, entre otros, son figuras claves en este movimiento.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El artista más célebre de esta corriente fue el catalán SALVADOR DALÍ (1904-1989). De personalidad compleja, megalómano, genial publicista de sí mismo, puede ser considerado también como un precursor de las performances de finales del siglo XX. Creó el método “paranoico-crítico” y lo aplicó a la pintura, elaborando de modo sistemático cuadros con varias imágenes superpuestas. Su técnica naturalista, de “buena cocina”, mostraba influencias de grandes pintores, desde El Greco, Velázquez hasta Goya. Paradójico y genial siempre, no abandonó nunca su capacidad de provocación que denota su adhesión permanente a las vanguardias. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Dalí aportó al surrealismo el componente autobiográfico de sus obras, y su calidad técnica, muy superior a los demás surrealistas y una riqueza de imágenes infinitamente superior, que procede en gran parte del catálogo casi infinito que le proporciona la historia del arte (“imágenes dobles”…). </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Fue importantísima también su labor como escritor, diseñador de joyas, decorador, escenógrafo, etc. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los últimos quince años de su vida están jalonados por el reconocimiento nacional e internacional a toda su producción. Así, en 1974 se inaugura el Teatro-Museo Dalí en Figueras (Cataluña). En 1982 se inaugura el Museo Salvador Dalí en St. Petersburg (Florida, Estados Unidos) y el rey Juan Carlos I le nombra Marqués de Púbol. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Entre sus obras destacamos: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Muchacha en la ventana, La persistencia de la memoria, Leda atómica, El enigma sin fin, El gran masturbador…</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Dalí, <i>el gran masturbador, </i>1929</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"> Dalí, <i>el enigma sin fin</i>, 1938</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;"> </span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Por último, no podemos dejar de hacer referencia a la influencia que tuvo el SURREALISMO EN CANARIAS, y más concretamente en Tenerife. Allí tienen amplio eco las propuestas del grupo surrealista de Paris. Los surrealistas canarios se aglutinaron en torno a la revista Gaceta de Arte de Eduardo Westerdahl, con pintores como ÓSCAR DOMÍNGUEZ o el propio Westerdahl y un grupo de poetas. En 1935 Breton y Peret viajaron a Tenerife para asistir a la exposición Internacional de Surrealismo, programada por Oscar Domínguez en el Ateneo de Sta. Cruz de Tenerife, con obras de Arp, Dalí, Domínguez, Tanguy, Picasso, etc.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Exposición internacional de Surrealismo en Tenerife en 1935</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Hijo de un rico terrateniente tinerfeño, Oscar Domínguez se trasladó a París en 1927, pero no sería hasta 1931 cuando se dedicaría de lleno a la pintura.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En París, entre 1934 y 1940, es un miembro activo del Surrealismo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sus mejores trabajos son los del llamado periodo cósmico (a partir de 1937), dominado por el automatismo y por el color azul; sus pinturas recuerdan desastres geológicos, como sucede en Nostalgia del espacio (1939). En sus obras muestra un universo onírico desconcertante, como por ejemplo en la máquina de coser electrosexual (1934). Abundan las referencias isleñas con alusiones concretas a la flora y orografía canarias. Estas visiones mágicas como las que aparecen en <i>El drago</i> (1933) o <i>Cueva de guanches</i> (1935).</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Oscar Dominguez, </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: medium;">máquina de coser electrosexual,</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"> 1934-35</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Oscar Domínguez, retrato de Roma</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Gran parte del vocabulario pictórico de Oscar Domínguez procede de Dalí, como lo evidencia el recurso frecuentemente utilizado del alargamiento de los miembros y el empleo de figuras protoplasmáticas, aquellas que por efecto del deseo sufren alteraciones en su conformación anatómica, presentando excrecencias gelatinosas y desbordamientos. También es de origen daliniano la imagen paranoica o imagen doble. Sin embargo, y a diferencia del pintor de Cadaqués, el punto de partida de la producción de Oscar Dornínguez no es una sexualidad conflictiva sino el humor y el deseo entendidos ambos como motores de la actividad humana. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El Surrealismo consideró el humor como una de las formas más eficaces de subversión de la realidad. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Oscar Domínguez desarrolló en 1936 una técnica automática de gran efectividad, la decalcomanía, consistente en aplicar el pigmento muy diluido sobre el soporte y, a continuación, presionar sobre éste con una superficie rígida, lo que provoca la distribución irregular del pigmento y la consiguiente creación de formas arbitrarias. Si las manchas así generadas no sufren modificación posterior, el procedimiento se denomina decalcomanía sin objeto preconcebido, mientras que si el pintor reinterpreta esas formas y las retoca para acentuar su parecido con determinadas manifestaciones, como pueden ser conformaciones coralinas, arborescencias, etcétera, nos hallamos ante la decalcomanía del deseo. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El pintor canario demostró ser también uno de los creadores más imaginativos de objetos surrealistas, ámbito de actuación que alcanzó un amplio desarrollo en la década de los años treinta, habiendo participado con en la gran Exposición de Objetos Surrealistas, celebrada en 1936 en París. Los objetos, liberados de su funcionalidad habitual, demostraron que podían convertirse en medios eficacísimos para establecer nuevas relaciones entre el ser humano y el entorno físico en que éste se mueve, al mismo tiempo que posibilitan también la actuación de las potencias del subconsciente. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A finales de los años treinta la obra de Oscar Domínguez denota un cambio de orientación sustancial, siendo sustituidos los contenidos oníricos y las manifestaciones del subconsciente propias del Surrealismo por visiones de carácter cósmico. A partir de la Segunda Guerra Mundial su creatividad se resintió bajo el peso del influjo picassiano. Sufrió una terrible y dolorosa enfermedad –acromegalia- y finalmente se suicidó.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">RECURSOS EN RED</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Aparte de los blogs y webs de arte que habitualmente recomiendo y que presentan referencias sobre el Surrealismo, quiero destacar también a algunos museos dedicados a los artistas de este movimiento:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre <a href="http://www.andrebreton.fr/">André Breton</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre <a href="http://www.salvador-dali.org/museus/figueres/es_index.html">Dalí.</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre <a href="http://www.musee-magritte-museum.be/Portail/Site/Typo3.asp?lang=FR&id=languagedetect">René Magritte</a> y la <a href="http://www.magritte.be/galerie/">Fundación Magritte</a>. Sobre <a href="http://www.museoreinasofia.es/coleccion/autor/dominguez-oscar">Oscar Domínguez</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre <a href="http://www.fundaciomiro-bcn.org/?idioma=6">Miró.</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Otros recursos:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre </span><a href="http://www.mav.org.es/documentos/ASPARKIA/ASPARKIA%205%20surrealismo.pdf" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-large;">mujeres y Surrealismo</a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre <a href="http://www.fundaciomiro-bcn.org/colecciojm_escultures.php?idioma=6">escultura y cerámica surrealista.</a></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre el <a href="http://fido.palermo.edu/servicios_dyc/publicacionesdc/vista/detalle_articulo.php?id_articulo=5982&id_libro=147">Surrealismo y la moda</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre el <a href="http://www.salvador-dali.org/museus/joies/es_index.html">Surrealismo y las joyas</a>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre el <a href="http://cinemusicaycult.tumblr.com/post/18080956197/el-surrealismo-en-el-cine">Surrealismo y el cine.</a> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre el </span><a href="http://tecnicasdegrabado.es/etiqueta/grabado-surrealista" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-large;">grabado y el Surrealismo.</a></div>
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-12697135030994637622022-12-08T08:54:00.000+01:002022-12-08T08:54:57.435+01:00SONIA DELAUNAY: ARTE, DISEÑO Y MODA<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EFQOPX8tkOXkaT_zc-HFfC2bbBNr5kJ9CCvEfYyUmvZoZY00zy1xiMZS_J26VuBwNTw012pmzCRUwy08Hz4rWd22f_x1oy-N6rkDZEFzsE4x0DNXFV3qhVd5m273pFChxIxOBETwQKE/s1600/sonia+de.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="466" data-original-width="627" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EFQOPX8tkOXkaT_zc-HFfC2bbBNr5kJ9CCvEfYyUmvZoZY00zy1xiMZS_J26VuBwNTw012pmzCRUwy08Hz4rWd22f_x1oy-N6rkDZEFzsE4x0DNXFV3qhVd5m273pFChxIxOBETwQKE/s640/sonia+de.tiff" width="640" /></a></div>
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<span style="font-family: "arial"; font-size: x-large;">Figura capital
de la vanguardia parisina desde los primeros decenios del siglo XX, Sonia Delaunay fue
una multifacética creadora y renovadora del arte contemporáneo. No se conformó solo con pintar, y durante 60 años su talento creador abarcó los más variados ámbitos del arte y el diseño (textil, moda, interiorismo, etc.)</span><br />
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<span style="font-family: "arial"; font-size: x-large;">El Museo Thyssen de Madrid le rinde homenaje con una recomendable exposición coincidiendo con el centenario de la primera estancia de la artista en Madrid, "el lugar donde se consolidó su vocación diversa de artista multidisciplinar" como afirma Guillermo Solana en el catálogo de esta muestra.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Los Orígenes de una Artista de Vanguardia</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En realidad, Sonia Delaunay se llamaba Sara Elievna Stern y nació en Odessa (Ucrania) en 1885. Por aquel entonces, Ucrania formaba parte del Imperio Ruso. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jYW9uvxuSpCzG57gR1laoMPwbJ5NZ7f9pIa8ylrHyVfpKbmuKOGn0N5liCkwKqY7PHxRTRQQ3Pq6KC7HcnUkgSUaRqf538MWm6X60JhQ6VWrrcXwHEG73vmtiGGbRqiAhLksEBScDyY/s1600/Sonia_Terk_Delaunay%252C_1901.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="432" data-original-width="281" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1jYW9uvxuSpCzG57gR1laoMPwbJ5NZ7f9pIa8ylrHyVfpKbmuKOGn0N5liCkwKqY7PHxRTRQQ3Pq6KC7HcnUkgSUaRqf538MWm6X60JhQ6VWrrcXwHEG73vmtiGGbRqiAhLksEBScDyY/s640/Sonia_Terk_Delaunay%252C_1901.jpg" width="416" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Terk en 1901. Fuente de la imagen: Wikipedia.org</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Aunque nació en el seno de una modesta familia de origen judío, fue educada por un tío materno, Henri Terk, desde la más tierna infancia en San Petersburgo. Allí adoptaría el nombre de Sonia Terk y recibiría una esmerada educación, aprendiendo varios idiomas. Siempre se sintió rusa.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs_V8a29XYnqR6w9ky073fFeJ2ZidtDiG853eo0xMfShXlNqK4FSL856GLLLuczeWhOz2RFwxdK3ZYKol650cS5QPAwdC9wVlQ4FDzxTMYLxq1Lm7mAjbauknEG_TZyqqnV-K0hzlpuJ4/s1600/russian-empire-1900.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="384" data-original-width="550" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs_V8a29XYnqR6w9ky073fFeJ2ZidtDiG853eo0xMfShXlNqK4FSL856GLLLuczeWhOz2RFwxdK3ZYKol650cS5QPAwdC9wVlQ4FDzxTMYLxq1Lm7mAjbauknEG_TZyqqnV-K0hzlpuJ4/s640/russian-empire-1900.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">El Imperio Ruso circa 1900. Fuente de la imagen: </span><span style="font-size: small;">https://pandaartdocents.wordpress.com/2015/12/17/sonia-delaunay/</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">De vida cosmopolita, vivió en Finlandia, Alemania, España y Portugal, siempre en contacto con los círculos artísticos de las ciudades donde residían.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tV0kVsULnuWR2D3KZgG_9ZYYUsXluZStK0E-76TJ1o2_A2VsTfvrSQ708L2Bt4RwH3V-r24l030KcnjZ2d-bftB-6ii0dmjv9jPk-CFhngOONdVkhsXYLD4oPMRcvfsHv38DABLmPIY/s1600/donde+vivio%25CC%2581.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="670" height="554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tV0kVsULnuWR2D3KZgG_9ZYYUsXluZStK0E-76TJ1o2_A2VsTfvrSQ708L2Bt4RwH3V-r24l030KcnjZ2d-bftB-6ii0dmjv9jPk-CFhngOONdVkhsXYLD4oPMRcvfsHv38DABLmPIY/s640/donde+vivio%25CC%2581.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="text-align: justify;">Lugares donde vivió Sonia Delaunay. Fuente de la imagen: </span><span style="text-align: center;">https://pandaartdocents.wordpress.com/2015/12/17/sonia-delaunay/</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32O4Vwu79lURNCuxrR2VTGjZ4StVDX_vnvEBopyTLUK0cIPc_HvTM5ebdqWIAlXIRZ8K0qDTQUXTFzEIRiNhXXUms62Bo_NbSr8sFcXODtuxQYcfEI6SrHBzfroTlzcvStkQZaiOJeF8/s1600/STUDIO.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="443" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32O4Vwu79lURNCuxrR2VTGjZ4StVDX_vnvEBopyTLUK0cIPc_HvTM5ebdqWIAlXIRZ8K0qDTQUXTFzEIRiNhXXUms62Bo_NbSr8sFcXODtuxQYcfEI6SrHBzfroTlzcvStkQZaiOJeF8/s640/STUDIO.jpg" width="442" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay en su estudio, c. 1920. Fuente de la imagen: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">https://nga.gov.au/</span></td></tr>
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<b style="font-family: arial, helvetica, sans-serif;"><span style="font-size: x-large;">De Rusia a París</span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sonia Delaunay se estableció en París en 1906 como rusa "émigrée" y pronto se unió a los artistas del París más vanguardista. En sus primeras obras se aprecia la influencia del postimpresionismo (Gauguin), el fauvismo francés y el expresionismo alemán pero siempre teniendo presente la huella del arte ucraniano-ruso, rico en brillante colorido. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCAJcE-_adrNaZP38mRUxcqZoT3oDo8JI5_WKMX5TySWENHKrh8caGqJ2yDJbYE81oa7-2JM7lgS5r7VdmEoBeq_WjOx14rPUT1iue7f-M2sjsIWnu959hdM660I1QBRjhT-1B_m4P81Y/s1600/finnish-woman-1908-web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCAJcE-_adrNaZP38mRUxcqZoT3oDo8JI5_WKMX5TySWENHKrh8caGqJ2yDJbYE81oa7-2JM7lgS5r7VdmEoBeq_WjOx14rPUT1iue7f-M2sjsIWnu959hdM660I1QBRjhT-1B_m4P81Y/s640/finnish-woman-1908-web.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Mujer finlandesa</i>, Sonia Delaunay, 1908. Fuente de la imagen:</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">https://artblart.com/tag/sonia-delaunay-in-front-of-her-door-poem-in-the-delaunays-apartment/</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHIzy8E-FxuOHYn1RMzOZFP_okKdm1Pl63CDrIkKjYgrNkFcdIcdQQHwP_HxXPk9blDpEcd6xfYut3sq4x_PpdzaukCIMHil4wrLgQS-AONnc61DSvMgSjVG0u28gj8g-Xkdn_y3Q538/s1600/sonia-delaunayc2a0yellow-nude-web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="848" data-original-width="1300" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHIzy8E-FxuOHYn1RMzOZFP_okKdm1Pl63CDrIkKjYgrNkFcdIcdQQHwP_HxXPk9blDpEcd6xfYut3sq4x_PpdzaukCIMHil4wrLgQS-AONnc61DSvMgSjVG0u28gj8g-Xkdn_y3Q538/s640/sonia-delaunayc2a0yellow-nude-web.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Desnudo amarillo</i>, Sonia Delaunay. 1908. Fuente de la imagen: https://artblart.com/tag/sonia-delaunay-in-front-of-her-door-poem-in-the-delaunays-apartment/</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Para no abandonar Francia, en 1909 se casó por conveniencia con un gran coleccionista y marchante de arte, el alemán Wilhem Uhde (1874-1947). Uhde fue el primer galerista que expuso su obra. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Gracias a él, conoció a artistas de vanguardia como Picasso, Braque y Robert Delaunay, con quien contrajo matrimonio en 1910, tras divorciarse amigablemente de Uhde.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPghqeZRrAG0OqkGGTPhvqj2QTQUT5mGHKg3vvtlPuL92-eeF5v3bxJdgKrgOURJFpgQ8o2sV92MjmCNdZN53dqUgRA0o6rve0RxG_0HYS-krjghkINvNLUW-DL73ZtNH_EoaHH25Jfg/s1600/Robert_Delaunay%252C_1907%252C_Portrait_of_Wilhelm_Uhde..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="357" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPghqeZRrAG0OqkGGTPhvqj2QTQUT5mGHKg3vvtlPuL92-eeF5v3bxJdgKrgOURJFpgQ8o2sV92MjmCNdZN53dqUgRA0o6rve0RxG_0HYS-krjghkINvNLUW-DL73ZtNH_EoaHH25Jfg/s640/Robert_Delaunay%252C_1907%252C_Portrait_of_Wilhelm_Uhde..jpg" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Robert Delaunay, <i>Retrato de Wilhem Uhde, </i>1907. Uhde apoyó especialmente al arte naif de Henri Rousseau "el Aduanero". Fuente de la imagen: Wikipedia.org.</span></td></tr>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sonia Terk y Robert Delaunay, Vidas Paralelas</span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Robert Delaunay fue un artista excepcional, amor de su vida y compañero de empresas artísticas. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Ambos habían nacido en el mismo año en lugares muy distintos. Robert era parisino y comenzó su carrera como aprendiz de decorados teatrales.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Se instalaron en París,</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> en la Rue de Grand Augustins de París, calle en la que también vivió Picasso en la II Guerra Mundial en la Francia ocupada por los nazis.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En 1911 nació su único hijo Charles,</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">y a partir de ese momento trabajaron juntos, en comunión total, casi en ósmosis. Esa colaboración extraordinaria no fue óbice para que trabajaran en registros diferentes. </span><br />
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<b style="font-family: arial, helvetica, sans-serif; text-align: justify;"><span style="font-size: x-large;">Orfismo, Simultaneísmo, ¿Art Déco?</span></b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Autorretratos realizados respectivamente por Robert y Sonia Delaunay.</span></td></tr>
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<span lang="EN-GB" style="font-family: "arial"; text-align: justify;"><span style="font-size: x-large;">Desde 1905, Robert y Sonia Delaunay crearon los fundamentos para un arte nuevo: figuran entre los pioneros de la pintura abstracta. De hecho, Sonia</span></span><span style="font-family: "arial"; font-size: x-large; text-align: justify;"> fue una de las primeras cultivadoras de este tipo de arte. </span><br />
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<span lang="EN-GB"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Robert, interesado hacia 1906-07 por las teorías
neo-impresionistas, empezó a investigar la ley del contraste simultáneo de los
colores, descubierta científicamente por Chevreul. </span></span></div>
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<span lang="EN-GB"><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;"><span style="font-size: x-large; text-align: justify;">En 1909, Robert Delaun</span><span style="font-size: x-large;">ay, después del "carnaval" de sus cuadros <i>fauves</i>, optó por la "cuaresma" del cubismo (así denominaba Eugenio D´Ors el paso del fauvismo a la vanguardia creada por Picasso y Braque) y por la austeridad, casi monocromism</span></span><span style="font-size: x-large; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">o en algunos cuadros (como por ejemplo la serie de pinturas de Saint Séverin de París). </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large; text-align: justify;">En 1912, Robert </span><span style="font-size: x-large;">empezó su serie de <i>fenêtres </i>(ventanas), interesándose cada vez más </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">por los problemas del color y la luz.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQnzP6zgThMXuMX1S7bVPkuCpQab6vi-ezODrRMVsse3Lh4hcvuWG6NIsUtaA6PoGeKz051YrvvZp1ruUu4ePoU_vZ_GS2_nNEhL6Bm9MKSsODdwAGsPMhBThgiq2Cy_12PZeI6AybtvU/s1600/tour.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1005" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQnzP6zgThMXuMX1S7bVPkuCpQab6vi-ezODrRMVsse3Lh4hcvuWG6NIsUtaA6PoGeKz051YrvvZp1ruUu4ePoU_vZ_GS2_nNEhL6Bm9MKSsODdwAGsPMhBThgiq2Cy_12PZeI6AybtvU/s640/tour.jpg" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Robert Delaunay, <i>Torre Eiffel,</i> 1911. Fuente de la imagen: fr.wikipedia.org</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrXjJ4xbvLRn89nuvWls8Q9oawul2tqhPCRmPKQaLvmyczU89cNWIbOF04Me0fAVAgAhXDexQPZumzJXesI43NUoOZJONNvDZh5_J5zW2gCcXiCFwHhhQogt08Z1wb4tUtuSKiKjJ8hmM/s1600/Robert_Delaunay%252C_1912%252C_Les_Fene%25CC%2582tres_simultane%25CC%2581e_sur_la_ville_%2528Simultaneous_Windows_on_the_City%2529%252C_40_x_46_cm%252C_Kunsthalle_Hamburg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="869" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrXjJ4xbvLRn89nuvWls8Q9oawul2tqhPCRmPKQaLvmyczU89cNWIbOF04Me0fAVAgAhXDexQPZumzJXesI43NUoOZJONNvDZh5_J5zW2gCcXiCFwHhhQogt08Z1wb4tUtuSKiKjJ8hmM/s640/Robert_Delaunay%252C_1912%252C_Les_Fene%25CC%2582tres_simultane%25CC%2581e_sur_la_ville_%2528Simultaneous_Windows_on_the_City%2529%252C_40_x_46_cm%252C_Kunsthalle_Hamburg.jpg" width="588" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Robert Delaunay, </span><i style="font-size: medium;">Les fenêtres simultanées sur la ville </i><span style="font-size: small;">(Ventanas simultáneas sobre la ciudad), 1912. Fuente de la imagen: fr.wikipedia.org</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Las investigaciones de ambos culminaron hacia 1912 en el Simultaneísmo, esto es, es la exploración basada en el color y la forma, creándose contrastes simultáneos de imágenes abstractas y expresivas. Combinaban </span><span style="font-size: x-large; text-align: justify;"><span lang="EN-GB">colores primarios y secundarios (rojo con verde, amarillo con púrpura y azul con naranja) con la finalidad de obtener vibraciones visuales. Este movimiento </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">fue denominado por el poeta Guillaume Apollinaire como Orfismo, una derivación del cubismo en el que se reintroducía el color.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"><span style="font-size: x-large;">Los Delaunay se interesaron por temas de la vida urbana y moderna -bailes, retratos, anuncios luminosos-. Buscaban el dinamismo, inundando los cuadros de vibrante colorido y horror vacui. En cierto sentido, fue un precedente del arte cinético. </span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Sonia Delaunay buscaba el arte total, quiso aplicar el simultaneísmo a la vida cotidiana, a los diseños textiles, los libros y la decoración de interiores con un estilo cercano al Art Déco, por su geometrismo, líneas en zig zag, etc.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Algunos ejemplos del arte simultáneo de los Delaunay:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNv-QBazz8j2GDiVaSZwn-oW_tdA9PFAmCroqIKPrX5eMba076Lpl2y81F_3lr8HTsUfoGzB2f15H-9r88Nt4ZJzNNgtC2Sieqm2l81e6MNQ78ko37oPW-YjKCxmdqofdu53ql8XDVtM/s1600/sonia5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="711" data-original-width="1023" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNv-QBazz8j2GDiVaSZwn-oW_tdA9PFAmCroqIKPrX5eMba076Lpl2y81F_3lr8HTsUfoGzB2f15H-9r88Nt4ZJzNNgtC2Sieqm2l81e6MNQ78ko37oPW-YjKCxmdqofdu53ql8XDVtM/s640/sonia5.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">Sonia Delaunay, <i>El Bal Bullier, </i>1913. Este cuadro es un ejemplo perfecto del orfismo. Por lo demás, e</span><span style="font-family: "arial" , "helvetica" , sans-serif;">l Bal Bullier era un lugar donde iban los jueves a bailar en el Boulevard Saint-Michel de París. Allí se reunían con escritores y artistas de vanguardia.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiC6rI8biMejJJKME_bQLl7Yz3RM1aLP6qmU_-25tYhkn0nLa3smY9UsCfXuJOl0JyQ4j3TyCANK0FB80FkDznJfOD68LTAg1GaWaofQ1xAL3RO9_1c2qCPnq6Redqm4fbEFA6drDLqZs/s1600/transsiberien.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="482" data-original-width="465" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiC6rI8biMejJJKME_bQLl7Yz3RM1aLP6qmU_-25tYhkn0nLa3smY9UsCfXuJOl0JyQ4j3TyCANK0FB80FkDznJfOD68LTAg1GaWaofQ1xAL3RO9_1c2qCPnq6Redqm4fbEFA6drDLqZs/s640/transsiberien.jpg" width="616" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i style="font-size: 12.800000190734863px;">La Prose du Transsibérien et de la petite Jehanne de France</i>, 1913. Fuente de la imagen: fr.wikipedia.org </span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">En la </span><i style="font-family: Arial, Helvetica, sans-serif; text-align: start;">Prosa del Transiberiano</i><span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;"> combina la novedad tipográfica con una decoración en forma de bandas absolutamente abstractas, que nos evoca el agradable movimiento del tren. En este espléndido libro conviven un largo poema de Centrars y los colores simultáneos de la pintora.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSqjriA5uZJTLO1O1BmnH_pnRved1pvaz0VsB2sfmVQo9rQDLqJhe3aRPRhyphenhyphenne9vrMBRctyCfR1RR5AqBQ9nlxtzqRDsXjpLLsweujHT5g5PCNJdrr4j7jdcfSJc8N7smHcqxKlYxnug/s1600/sonia_delaunay_la_prose_du_transsiberien_et_de_la_petite_jehanne_de_france_a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="295" data-original-width="670" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSqjriA5uZJTLO1O1BmnH_pnRved1pvaz0VsB2sfmVQo9rQDLqJhe3aRPRhyphenhyphenne9vrMBRctyCfR1RR5AqBQ9nlxtzqRDsXjpLLsweujHT5g5PCNJdrr4j7jdcfSJc8N7smHcqxKlYxnug/s640/sonia_delaunay_la_prose_du_transsiberien_et_de_la_petite_jehanne_de_france_a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i>La Prose du Transsibérien et de la petite Jehanne de France</i>, 1913. Fuente de la imagen:https://pandaartdocents.wordpress.com/2015/12/17/sonia-delaunay/</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS0-LQlHS3O7CZlIAdq4fmsMYhS4AamDFKnZDEwlwZ7DupeoLy9jCcBMxPRwrhceuIrH_GFncb1bHAVWFTzqMh8hvnW7ZdRNqGQb5j6pjA1eYWT_1RpQv8PR8sn5QqEw_8vCbRXl7EH6k/s1600/sonia10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1201" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS0-LQlHS3O7CZlIAdq4fmsMYhS4AamDFKnZDEwlwZ7DupeoLy9jCcBMxPRwrhceuIrH_GFncb1bHAVWFTzqMh8hvnW7ZdRNqGQb5j6pjA1eYWT_1RpQv8PR8sn5QqEw_8vCbRXl7EH6k/s640/sonia10.jpg" width="638" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i>Prismas eléctricos</i>, 1914. Fuente de la imagen: http://www.theartstory.org/artist-delaunay-sonia-artworks.htm#pnt_5</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D15OjHaw7p0LAVeCPTYoKoi8vahNHmQc0M8_owOOq5tVt_yLTU2lCso_lpKy0pYl-4oBaUQpkRop21K-jTUXcpXHRvbdREH4mKjOJCJWokv3TVtJ2-g2-3X6tuKDVv6U7fQOLt8W_hE/s1600/granflamenco.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1312" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6D15OjHaw7p0LAVeCPTYoKoi8vahNHmQc0M8_owOOq5tVt_yLTU2lCso_lpKy0pYl-4oBaUQpkRop21K-jTUXcpXHRvbdREH4mKjOJCJWokv3TVtJ2-g2-3X6tuKDVv6U7fQOLt8W_hE/s640/granflamenco.jpg" width="524" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Gran flamenco,</i> Sonia Delaunay, 1916. Fuente de la imagen:https://es.pinterest.com/pin/443745369514928854/</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjcqQFNiIyPitXLKEQrrn-fhhQwphsBKmK358xWXziizVM897-V6TYeVFg8d1WEqYn4grhYW1136WXNuDxv2NZ7TS2ZkFp-Zht1dpAXLM87Shbp9cxx2eI3shc_ii-4WQ7vmSetkrlOs/s1600/SONIA3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="707" data-original-width="1024" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjcqQFNiIyPitXLKEQrrn-fhhQwphsBKmK358xWXziizVM897-V6TYeVFg8d1WEqYn4grhYW1136WXNuDxv2NZ7TS2ZkFp-Zht1dpAXLM87Shbp9cxx2eI3shc_ii-4WQ7vmSetkrlOs/s640/SONIA3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i>Naturaleza muerta portuguesa, </i>1916. Fuente de la imagen:http://www.hoyesarte.com</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnjF9VtKES96cu0g8Kv09vo5ltcDdL_vRszdKwAO5wRhcG8UCX3iGUnFMUJduxjt0EXFiYFkuwr5mezQf8cV2vCnQNB-Kf9Sm-pgiDLhYZ-UkpeCfttkUtlrkNMD2xxF1fJpcsWvFQ5AQ/s1600/SONIA2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="786" data-original-width="1024" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnjF9VtKES96cu0g8Kv09vo5ltcDdL_vRszdKwAO5wRhcG8UCX3iGUnFMUJduxjt0EXFiYFkuwr5mezQf8cV2vCnQNB-Kf9Sm-pgiDLhYZ-UkpeCfttkUtlrkNMD2xxF1fJpcsWvFQ5AQ/s640/SONIA2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i>Naturaleza muerta</i>. Viajes lejanos, 1937. Fuente de la imagen:http://www.hoyesarte.com</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xVSk-v252FGJ5Q6UXLqidAK0khdthPjNbntw3BvY1Uq8-AVHQGCKcaULYRoJ0KKejHWMUWJDNlKMa4XQlD8-QPd76t-ufxFGHJ0TEiSCY122cJBPSktLgsB6v0R-kneg2KDhu2jH0h4/s1600/sonia12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="736" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xVSk-v252FGJ5Q6UXLqidAK0khdthPjNbntw3BvY1Uq8-AVHQGCKcaULYRoJ0KKejHWMUWJDNlKMa4XQlD8-QPd76t-ufxFGHJ0TEiSCY122cJBPSktLgsB6v0R-kneg2KDhu2jH0h4/s640/sonia12.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay, <i>Ritmo</i>, 1938. Fuente de la imagen:http://www.theartstory.org/artist-delaunay-sonia-artworks.htm#pnt_5</span><br />
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<span style="font-size: small;"><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinoGvMLIT_DyLE_xYA7n5rlWpyQ83Dn1YOZRcNUh6rlDEn_8o6Mqn4lzopnrN5zqpxba8Zli7SM4zdmSIhevtv-5EDa7T1JOCQ-PZgGjKBfkLdjC-jA3wziQQ1D7VuHz_YEN6f2UoehMk/s1600/SONIA4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="607" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinoGvMLIT_DyLE_xYA7n5rlWpyQ83Dn1YOZRcNUh6rlDEn_8o6Mqn4lzopnrN5zqpxba8Zli7SM4zdmSIhevtv-5EDa7T1JOCQ-PZgGjKBfkLdjC-jA3wziQQ1D7VuHz_YEN6f2UoehMk/s640/SONIA4.jpg" width="640" /></a><span style="font-size: small;"><br /><br /><span style="font-family: "arial" , "helvetica" , sans-serif;">Sonia Delaunay, <i>Rythme couleur</i>, 1964. </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fuente de la imagen:http://www.hoyesarte.com</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8_6WDhqlg92ePo_PZQ2ZmwPwvFaeFshbgOdKThUSTPUfXZz7uAX3gPSeiHPFMx-5oR3QQXi6vg60Kfx54lzlAqNoqOxcrKC1EGpRmtShe4PQ0bhRJ1ufqPev_kwXjeYRBiB_EArAD5w/s1600/Delaunay_Portuguese_Woman.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="543" data-original-width="622" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu8_6WDhqlg92ePo_PZQ2ZmwPwvFaeFshbgOdKThUSTPUfXZz7uAX3gPSeiHPFMx-5oR3QQXi6vg60Kfx54lzlAqNoqOxcrKC1EGpRmtShe4PQ0bhRJ1ufqPev_kwXjeYRBiB_EArAD5w/s640/Delaunay_Portuguese_Woman.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Robert Delaunay, <i>Mujer portuguesa, </i>1915. Fuente de la imagen: fr.wikipedia.org. </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJb7BMdIV6nbzyZnf2L8VlUYMUFq_qGhnue3W9wk5L8KzHCWdaKvEltWArXeeiJ2XewOR3UkUGcP9HgKKOSKsXt0qVq8eERXobrPOmTNjs6So6yHdHtkSMvvc1TuDNXR8afZE13vU9TE4/s1600/delaunay1936.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="1024" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJb7BMdIV6nbzyZnf2L8VlUYMUFq_qGhnue3W9wk5L8KzHCWdaKvEltWArXeeiJ2XewOR3UkUGcP9HgKKOSKsXt0qVq8eERXobrPOmTNjs6So6yHdHtkSMvvc1TuDNXR8afZE13vU9TE4/s640/delaunay1936.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Robert Delaunay,<i> Relief-disques,</i> 1936. Fuente de la imagen: fr.wikipedia.org</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4rPX2c5NxYWgMRaTrU7NGz9ssA_yFyK7WTB9ouPsjburZgtyLGll7NYtSS6Jb7iDEFynRPt8rgR0Y7Qjj0IsEVSgKDbJ9PGQcic2bQyd-6QQIstVWs9mhBGgDjRCRhs4MAq_J1t6i4O4/s1600/retrato.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="981" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4rPX2c5NxYWgMRaTrU7NGz9ssA_yFyK7WTB9ouPsjburZgtyLGll7NYtSS6Jb7iDEFynRPt8rgR0Y7Qjj0IsEVSgKDbJ9PGQcic2bQyd-6QQIstVWs9mhBGgDjRCRhs4MAq_J1t6i4O4/s640/retrato.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Retrato del poeta Philippe Soupault</i>, Robert Delaunay, 1922. Fuente de la imagen: https://es.pinterest.com/explore/philippe-soupault/</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSc5se74yN3j8DtbfpKkBoeobvu9zovtbUWPlyqs9Gb-O_bumj9V7CUPo7xpE2gV2oOXehEo_LU4wrjBS5JlhWjZl5WHxSM1-a_klSXmJyiVZjQCZYYKS3fjSgyN4UORhdAGr9CisPko/s1600/alegria.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="667" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSc5se74yN3j8DtbfpKkBoeobvu9zovtbUWPlyqs9Gb-O_bumj9V7CUPo7xpE2gV2oOXehEo_LU4wrjBS5JlhWjZl5WHxSM1-a_klSXmJyiVZjQCZYYKS3fjSgyN4UORhdAGr9CisPko/s640/alegria.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>La alegría de vivir,</i> Robert Delaunay, 1930. Fuente de la imagen:http://www.malagahoy.es/ocio/Pompidou-Philippe-Starck-Daniel-Buren_0_1090990949.html</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ntG44TgDUYGve_UXRIfZsSyWM7_S4P3gFn7tdwnEa3PW07dHMW2t5uIZZZDGG_CndnD8alLcNcgHH6J-4LVTpOH_4MKe9yWLib43GlaHJKlcbosLmEWXx4Rm_-ekOWWgrhtAroAxCMg/s1600/robert.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ntG44TgDUYGve_UXRIfZsSyWM7_S4P3gFn7tdwnEa3PW07dHMW2t5uIZZZDGG_CndnD8alLcNcgHH6J-4LVTpOH_4MKe9yWLib43GlaHJKlcbosLmEWXx4Rm_-ekOWWgrhtAroAxCMg/s640/robert.jpg" width="638" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;">R</span><span style="font-family: "arial" , "helvetica" , sans-serif;">etrato de Madame Mandel, </span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">Robert Delaunay, 1923. Fuente de la imagen: https://es.pinterest.com/ccmfarrow/art-sonia-and-robert-delaunay/?lp=true</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWZcBsCjxF6boDdcGDprDKNbz7Vb75IHy-Ip37ADAPvQACLghNDOJnIgXGvzKZF20zAEiWtKwpQkL0onPGX0TjTHTpVZUtcKO7ZXgRcimrZJeL5IhRZtwvyS0FqgQWvkPr00ijq4Y6Po/s1600/Retrato_de_Tristan_Tzara_%2528Robert_Delaunay%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="885" data-original-width="640" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRWZcBsCjxF6boDdcGDprDKNbz7Vb75IHy-Ip37ADAPvQACLghNDOJnIgXGvzKZF20zAEiWtKwpQkL0onPGX0TjTHTpVZUtcKO7ZXgRcimrZJeL5IhRZtwvyS0FqgQWvkPr00ijq4Y6Po/s640/Retrato_de_Tristan_Tzara_%2528Robert_Delaunay%2529.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Retrato de Tristan Tzara,</i> Robert Delaunay, 1923. Fuente de la imagen: http://www.wikiwand.com/es/Tristan_Tzara</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1L_IiHhhgGmRMUek5mHAkHXmpGEUQUpRWu7Vg4wwYbwvVu8P23um3jaBv8XHvn7-9ycWTFHQEZjECP2bcEpW8HtlgdvVib0oiUBRbT9v6hCXIZr-Ahnsyj_77qqkXidYOXVKxce7LCkA/s1600/madame+heim.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="980" data-original-width="731" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1L_IiHhhgGmRMUek5mHAkHXmpGEUQUpRWu7Vg4wwYbwvVu8P23um3jaBv8XHvn7-9ycWTFHQEZjECP2bcEpW8HtlgdvVib0oiUBRbT9v6hCXIZr-Ahnsyj_77qqkXidYOXVKxce7LCkA/s640/madame+heim.jpg" width="476" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Retrato de Madame Heim</i>, Robert Delaunay, 1926-27 Fuente de la imagen: http://www.visimuz.com/delaunay-heim/</span></td></tr>
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<b><span lang="EN-GB" style="font-family: "arial";"><span style="font-size: x-large;">España, Portugal, Francia</span></span></b></div>
<!--EndFragment--><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Unas vacaciones en Fuenterrrabía en 1914, están en el origen de la primera estancia española de los Delaunay. La declaración de la I Guerra Mundial les anima a permaner en España. A finales de ese año se instalan en Madrid. Agobiados por el calor, y tras una visita de Robert a Lisboa, durante el verano de 1915 se trasladan a Portugal. Allí ambos pintan los temas populares del país: los mercados, las telas, la vegetación, la cerámica, etc. Fueron los años más felices de la vida de Sonia, según cuenta en sus memorias.</span></span></span><br />
<span style="font-size: x-large;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A finales de 1917 regresan a España. Viven una semanas en Barcelona y allí se enteran del estallido de la Revolución Rusa, con la que desaparecen las rentas de Sonia. Vuelven a Madrid. Sonia redescubre su vocación con nuevos bríos. Acuciados por la penura económica, lo que había sido algo casi anecdótico en su producción artística -la decoración de interiores y el diseño de moda- se convierte en una necesidad. En 1918 creó con cierto éxito su boutique "Casa Sonia" en la Calle Columela número 2 de Madrid, especializada en interiorismo y moda.También vendía sus diseños en la calle Barquillo de Madrid.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYlSv7IDiXh6n53L-Q-lE-KDAzgK5-UDKzYNt8fx4MhyphenhyphenKq-9ubLsTFV98F1E1vaz-gD8u8LzJgNSylFHtGkcKbk3HS1MBLN1rhlq0Ziw5va7G1-QtzeeWUHim2VB8a-QxMbcTNP1OSmQ/s1600/invi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="915" data-original-width="1140" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYlSv7IDiXh6n53L-Q-lE-KDAzgK5-UDKzYNt8fx4MhyphenhyphenKq-9ubLsTFV98F1E1vaz-gD8u8LzJgNSylFHtGkcKbk3HS1MBLN1rhlq0Ziw5va7G1-QtzeeWUHim2VB8a-QxMbcTNP1OSmQ/s640/invi.jpg" width="640" /></a></div>
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<span style="font-size: x-large;"><span style="text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Conocen a Sergi Diaghilev y al Marqués de Valdeiglesias. A través de ellos conectan con artistas y aristócratas españoles. </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Estos últimos seran sus principales clientes. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9aRzH8tLhB1Iq3laYFoOrkhYPE9_vIa9gq_WLNsdDk7VMl9ie063ufoc_iVwQvozP_AYgcLUj-kQObwYX091O69NauJ8VXiWQI0KtCObs3_1W8oDtkSn2A_6yyS3VRvpAOgKH0HNmis/s1600/LAS++4+HIJAS+DEL+MARQUES+DE+URQUIJO+BY+SONIA+DELAUNAY+MADRID+1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1054" data-original-width="1568" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG9aRzH8tLhB1Iq3laYFoOrkhYPE9_vIa9gq_WLNsdDk7VMl9ie063ufoc_iVwQvozP_AYgcLUj-kQObwYX091O69NauJ8VXiWQI0KtCObs3_1W8oDtkSn2A_6yyS3VRvpAOgKH0HNmis/s640/LAS++4+HIJAS+DEL+MARQUES+DE+URQUIJO+BY+SONIA+DELAUNAY+MADRID+1919.jpg" width="640" /></a></div>
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Las hijas de los marqueses de Urquijo con diseños de Sonia Delaunay (vestidos y sombrillas), Madrid, 1919. Fuente de la imagen: http://thecostumeblog.blogspot.com.es</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Pronto vende sus diseños también en Bilbao y San Sebastián. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">Por aquellos años expuso en el Majestic Hall de Bilbao (1919) y en el Salón Mateu de Madrid (1920) así como una muestra conjunta con Robert en la Asociación de Artistas Vascos de la capital vizcaína (1919).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjurOo2fHjpewMqwDGH3FgUD5Vy3NwCSmitWbIgwi_fj7YLJjr6aUiqA48ZZITe1Hc4wkQMPHrCRqp6InSOg6FXkQ6pxusKc0uUZKEme2QrF9uHZj8oNev950az_CLJJ4aX1ZsIDbhAlvE/s1600/tienda.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="603" data-original-width="386" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjurOo2fHjpewMqwDGH3FgUD5Vy3NwCSmitWbIgwi_fj7YLJjr6aUiqA48ZZITe1Hc4wkQMPHrCRqp6InSOg6FXkQ6pxusKc0uUZKEme2QrF9uHZj8oNev950az_CLJJ4aX1ZsIDbhAlvE/s640/tienda.jpg" width="408" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">La boutique simultané de Sonia Delaunay en París. Fuente de la imagen: https://es.pinterest.com/pin/447193437983036967/</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijmRU0vt1zcwsDAIZLmPw8CQ3I1SQK4kxVPorVInBvUsecnSA6kQBttD-RW8FAX8YPhvrqu86VPBImcr7QV4BY7XEeLt24BJ_ftPHY-ym6-vaAZ6Z9rbnDYywK1dK723nVZxiWOlLmnZs/s1600/Sonia_Delaunay_CasaSonia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijmRU0vt1zcwsDAIZLmPw8CQ3I1SQK4kxVPorVInBvUsecnSA6kQBttD-RW8FAX8YPhvrqu86VPBImcr7QV4BY7XEeLt24BJ_ftPHY-ym6-vaAZ6Z9rbnDYywK1dK723nVZxiWOlLmnZs/s640/Sonia_Delaunay_CasaSonia.jpg" width="480" /></a></td></tr>
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La boutique simultánea de Sonia Delaunay, Paris, 1925. Fuente de la imagen: http://pinkpagodastudio.blogspot.com.es/2011/06/</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">"Casa Sonia" fue un precedente de la "Boutique Simultané" que creó en París en los años 20 (1924-1931). Esta tienda era del mismo estilo de las de los diseñadores más afamados de la época como Paul Poiret. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Recordemos que volvieron a París hacia 1920-1921 y allí se establecieron definitivamente. </span><br />
<span style="font-family: "arial"; font-size: x-large; text-align: justify;">En 1923 vendía sus diseños textiles simultáneos a una fábrica de seda de Lyon y en 1924 creó un taller para imprimir telas y producir vestidos y echarpes.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> En 1929 tuvo que cerrar su negocio por la crisis económica, centrándose a partir de entonces en el diseño de tejidos que realizaba para los grandes almacenes holandeses Metz &Co. Hasta los años 50 compaginó esta actividad con la pintura.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En 1937 ambos realizaron uno de sus obras de mayor alcance, unos murales sobre la aeronáutica y el ferrocarril en la Exposición Internacional de París. Robert poco tiempo después murió de una forma casi repentina y Sonia se refugió en Grasse (sur de Francia) donde vivirá con el matrimonio Arp hasta 1944 que vuelve a París. Seguirá trabajando en la línea del simultaneísmo abierta por los dos. En los años 50 expuso sus pinturas en Europa y América y en 1964 fue la primera mujer artista a la que el museo del Louvre de París le dedicó una retrospectiva.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96pgXRIWiN5BBCx_2UyQMqmsaylnGwT0M-w3NCOLFdI7JxdfU_pVonV4mIKPY_wDQVA9e23iaGDH5BiATkvIYTB9z6Gn_P8I6tUr9imPM20ggfmFtKwpEGif8JcCx4dq3NWHTHTiqHdQ/s1600/cartel_expo_37.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="425" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96pgXRIWiN5BBCx_2UyQMqmsaylnGwT0M-w3NCOLFdI7JxdfU_pVonV4mIKPY_wDQVA9e23iaGDH5BiATkvIYTB9z6Gn_P8I6tUr9imPM20ggfmFtKwpEGif8JcCx4dq3NWHTHTiqHdQ/s640/cartel_expo_37.jpg" width="602" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Cartel de la Exposición Internacional de París de 1937. Fuente de la imagen: </span>http://catalogo.artium.org/dossieres/4/guernica-de-picasso-historia-memoria-e-interpretaciones/el-pabellon-espanol-de-la-exposi</span></td><td class="tr-caption"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></td><td class="tr-caption"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></td><td class="tr-caption"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL632P7o1809rjET1B7gnvyZqDyg9xoTJ-NHnxDrmSg65diTaFolhj6J15L3KkFvHgv22nmounNdfEbCMxVmO_YsXzbRSWT50jwIPxV2i7F58pzbJF6dIMKgrJZT_wyV-xaYtNs5B0Wd4/s1600/propaler+air+sonia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL632P7o1809rjET1B7gnvyZqDyg9xoTJ-NHnxDrmSg65diTaFolhj6J15L3KkFvHgv22nmounNdfEbCMxVmO_YsXzbRSWT50jwIPxV2i7F58pzbJF6dIMKgrJZT_wyV-xaYtNs5B0Wd4/s640/propaler+air+sonia.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Propeller (Air Pavillion)</i>, Sonia Delaunay, 1937.Fuente de la imagen:https://artblart.com/tag/sonia-delaunay-in-front-of-her-door-poem-in-the-delaunays-apartment/</span></td></tr>
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<b><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sonia Delaunay, Diseñadora Textil y de Moda</span></span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Aunque Sonia pintaba sobre lienzo, algunos de sus proyectos más interesantes están hechos en tela. Fue una consumada diseñadora, una artista enamorada del color.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sus creaciones textiles y sus diseños de moda, aunque han sido calificadas como simultáneas, pues son traslación de su pintura a otros diseños, también pueden ser encuadradas dentro del Art Déco. No en vano ella participó en la mítica exposición internacional de Artes Decorativas de París de 1925 que dio nombre a ese estilo. Su apariencia con el corte de pelo Bob o a lo "garçonne", sus vestidos geométricos y muy esteticistas... nos muestran su filiación con ese estilo francés. Como Mariano Fortuny o Coco Chanel, desterró por siempre el corsé de la vestimenta femenina. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Refleja con sus diseños el nuevo paradigma de mujer de la época, moderna y hasta cierto punto, liberada. Apollinaire señalaba que Sonia Delaunay con sus vestidos simultáneos parecía una "pintura viviente" o "una escultura de formas vivas".</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sus modelos influyeron en creadores como la italiana Schiaparelli, o el francés Jean Patou. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Su clientela pertenecía a la élite adinerada europea (aristócratas y alta burguesía) y a celebridades de la talla de la actriz Gloria Swanson, para quien en 1923 diseño un abrigo. </span><span style="font-size: x-large; text-align: start;">Entre sus clientes descuella el arquitecto -y modelo para el villano de James Bond- </span><span style="font-size: x-large; text-align: start;">Ernö Goldfinger, y las esposas de Walter Gropius, Marcel Breuer y Erich Mendelsohn. También la fascinante Nancy Cunard.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1uIE5t-PZgGScB5d4VleHqqcnHk_218VS4yYAoZMO5i7B3LN0Vu4afYj-xZs2jrGhUDuWCR-RJhR0jrQMhAtqDmKjBjeuzhL73XMdW_19DbeNeR-VsqZ_RIgo08uhddQMbf2dPnytkiU/s1600/sonia1924.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="702" data-original-width="499" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1uIE5t-PZgGScB5d4VleHqqcnHk_218VS4yYAoZMO5i7B3LN0Vu4afYj-xZs2jrGhUDuWCR-RJhR0jrQMhAtqDmKjBjeuzhL73XMdW_19DbeNeR-VsqZ_RIgo08uhddQMbf2dPnytkiU/s640/sonia1924.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay en su apartamento de la calle Malesherbes de París, 1924. Fuente de la imagen: tate.org.uk</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rn3D2UrJxdzalaAoDvQL_zyeIIamjSAawAWblV_MkpM-M2mXqgMEhFGQAtTexDzP8BBF_pxh-7IfarIlD7nRnKLUpXSW_GTHGZ0H1k8KIQB3rKoB25ASVMFifKAG8GftRq6hvzA5vjw/s1600/sonia.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="431" data-original-width="430" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3rn3D2UrJxdzalaAoDvQL_zyeIIamjSAawAWblV_MkpM-M2mXqgMEhFGQAtTexDzP8BBF_pxh-7IfarIlD7nRnKLUpXSW_GTHGZ0H1k8KIQB3rKoB25ASVMFifKAG8GftRq6hvzA5vjw/s640/sonia.tiff" width="638" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">S<span style="font-family: "arial" , "helvetica" , sans-serif;">onia Delaunay con uno de sus diseños al más puro estilo flapper de los Locos Años 20.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvcE_qUiVSW9gsuerMZqOdX9h_zmdRbNmfxCUDYfM2_INLitEtK42iaEUw65KLa4pmSQw5h0Ztm3DaBfN8E1dTHIgMDkJNPhXZ3qLHuvo1LI6i1SeupTHQXbELT2lW_OisfouhXtO1Abw/s1600/friends+sonia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="532" data-original-width="702" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvcE_qUiVSW9gsuerMZqOdX9h_zmdRbNmfxCUDYfM2_INLitEtK42iaEUw65KLa4pmSQw5h0Ztm3DaBfN8E1dTHIgMDkJNPhXZ3qLHuvo1LI6i1SeupTHQXbELT2lW_OisfouhXtO1Abw/s640/friends+sonia.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Sonia Delaunay con dos amigas en el estudio de Robert Delaunay en la calle de Grands-Augustins de París. 1924. Fuente de la imagen:</span><span style="font-size: small;">http://www.tate.org.uk/context-comment/articles/love-friendship-rivalry-delaunays-circle</span></span></td></tr>
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<span style="font-size: large;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Sonia Delaunay, T<i>res vestidos para niñas</i>, 1920.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PTn47ga6IlunEE0lU-EQcreNvX7oMopC0Z7nsEk-YlUtJx-cKP8yo9SrYRJdmKjFFZEhlKvB5AS2CfP0AQJT8zZb0azf4An2PZ7okR3N7vGRMow6MU6_m-iVjKhxsbM2eIx_XlKwbKU/s1600/disen%25CC%2583os.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="449" data-original-width="583" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PTn47ga6IlunEE0lU-EQcreNvX7oMopC0Z7nsEk-YlUtJx-cKP8yo9SrYRJdmKjFFZEhlKvB5AS2CfP0AQJT8zZb0azf4An2PZ7okR3N7vGRMow6MU6_m-iVjKhxsbM2eIx_XlKwbKU/s400/disen%25CC%2583os.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Diseños textiles de Sonia Delaunay de los años 20 y 30</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgDnjFQk7D1v2SUVFSSlBqMGZoezFKmLFFU-a7Gk6r3a8o2IhgZkBYfmJNm_xP-nUJBxtMONvapJ9rh8znueYtamJbMhdNcyvwfyt1DWrR8EkWAPJjjxtMnnIRtpzBi3KmeZgWShYphQ/s1600/sonia7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="813" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgDnjFQk7D1v2SUVFSSlBqMGZoezFKmLFFU-a7Gk6r3a8o2IhgZkBYfmJNm_xP-nUJBxtMONvapJ9rh8znueYtamJbMhdNcyvwfyt1DWrR8EkWAPJjjxtMnnIRtpzBi3KmeZgWShYphQ/s640/sonia7.jpg" width="508" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sonia Delaunay, <i>Vestidos simultáneos (Tres mujeres, formas, colores),</i> 1925. Fuente de la imagen: Museo Thyssen.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijXXltQl5cTZGjaL-pDHIl797Y-XbqxZXtMBzVdOTJPLQYD2Mrby1Fv17k9-8B2JEESwn-N6OP5D5iu0t3-epSmJgOzQ1GgwolK8qkJZkH5-pJL1yYUbLPUav2QabDfZdomlfG450zLWE/s1600/vestidos.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="237" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijXXltQl5cTZGjaL-pDHIl797Y-XbqxZXtMBzVdOTJPLQYD2Mrby1Fv17k9-8B2JEESwn-N6OP5D5iu0t3-epSmJgOzQ1GgwolK8qkJZkH5-pJL1yYUbLPUav2QabDfZdomlfG450zLWE/s400/vestidos.jpg" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><i><br /></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Vestidos simultáneos</i>, Sonia Delaunay, 1925. Fuente de la imagen:</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">https://fr.pinterest.com/pin/513973376202671550/</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisq2Tbq0ZAhMR329jazl7opqGgr8h58mw1FB4cdGp_2dAQ63mVqrStmGhOkFTYm6ZTlADu95nJ1l3uFQuFblhaRkZGxn6MgDvDdVX_VW1G_mF1apzo13iE8QSTc8nJdxrGQJIWRiM2Bhg/s1600/sonia9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="481" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisq2Tbq0ZAhMR329jazl7opqGgr8h58mw1FB4cdGp_2dAQ63mVqrStmGhOkFTYm6ZTlADu95nJ1l3uFQuFblhaRkZGxn6MgDvDdVX_VW1G_mF1apzo13iE8QSTc8nJdxrGQJIWRiM2Bhg/s640/sonia9.jpg" width="518" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sonia Delaunay, V<i>estido Simultáneo</i>, 1913. Fuente de la imagen: http://sandrachiricocouture.weebly.com/blog/-sonia-delaunay-textile-artist</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhouxM0f2gORgFncqsDFDeUNbRzbB5nzbZ3NzCLvwgkp0aapwCyavZTcMIiwqffSEiHXiPlfyWgCpBMjKZYWAynTu9KYUcGa7SZ5ylgiWJgFgsXxTq5yKbKbzxR6wPqf_jU3flU2fqPK_U/s1600/sonia11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhouxM0f2gORgFncqsDFDeUNbRzbB5nzbZ3NzCLvwgkp0aapwCyavZTcMIiwqffSEiHXiPlfyWgCpBMjKZYWAynTu9KYUcGa7SZ5ylgiWJgFgsXxTq5yKbKbzxR6wPqf_jU3flU2fqPK_U/s640/sonia11.jpg" width="552" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Design 1044</i>, Metz & Co. (1931). Fuente de la imagen: http://www.theartstory.org/artist-delaunay-sonia-artworks.htm#pnt_5</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNyn9KoXBDH2iW-SHU4SNpCsgMslR3qDuLZa9KEs3AttCMGAhiCnXYkwrcNroM1ezjBRSz9HHF38NZDKeZK893gv-TSl2_PZQGSnshRYoWy5Y-2SIRwYZkjY07jhHVBBhofsOap0cPAAo/s1600/seda+vestido.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="363" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNyn9KoXBDH2iW-SHU4SNpCsgMslR3qDuLZa9KEs3AttCMGAhiCnXYkwrcNroM1ezjBRSz9HHF38NZDKeZK893gv-TSl2_PZQGSnshRYoWy5Y-2SIRwYZkjY07jhHVBBhofsOap0cPAAo/s640/seda+vestido.jpg" width="426" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Vestido de seda, Sonia Delaunay. Colección privada, Alemania. Fuente de la imagen:http://www.mujerhoy.com/vivir/ocio/201706/27/sonia-delaunay-arte-pret-20170627135028-p.html</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjawRvwY0a6habEITB_HCpFbZdWMVoet3p1rbQsOQMjIkxyofrHAWCGDtQIkegQJX0ZoxlAT7gEENk1kL5TZaVLsK4cLxAl_nRl_pSAOoZt8W6r3t8CQrvFYDCAhwZcNj6q08HHoHrgZWs/s1600/swim.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="451" data-original-width="597" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjawRvwY0a6habEITB_HCpFbZdWMVoet3p1rbQsOQMjIkxyofrHAWCGDtQIkegQJX0ZoxlAT7gEENk1kL5TZaVLsK4cLxAl_nRl_pSAOoZt8W6r3t8CQrvFYDCAhwZcNj6q08HHoHrgZWs/s640/swim.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diseños de trajes de baños de Sonia Delaunay (años 20)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlDUUwP0k4jltjR4RqCkytH3HeZYKad-6A89lz7oOe4pvK6CDKLfwBJXkjFzNKyrcs1knV4EsJrSsIqPWUfN8X4lH0RWBiMgq5gOBFW_4SjnkkEcYkkjVvTx1BtgO-ou61GH3Egxz-Ls/s1600/shoes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAlDUUwP0k4jltjR4RqCkytH3HeZYKad-6A89lz7oOe4pvK6CDKLfwBJXkjFzNKyrcs1knV4EsJrSsIqPWUfN8X4lH0RWBiMgq5gOBFW_4SjnkkEcYkkjVvTx1BtgO-ou61GH3Egxz-Ls/s640/shoes.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diseños de zapatos, Sonia Delaunay, años 20. Fuente de la imagen:http://onewaystreet.typepad.com/one_way_street/2015/04/sonia-delaunay-and-the-avant-garde-shoes.html</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span><b style="font-family: Arial, Helvetica, sans-serif;"><br /></b><br />
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<b style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: x-large;">Vestidos-Poemas</span></b></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A Sonia Delaunay le encantaba la poesía. En los años 20 diseñó varios vestidos-poemas basados en los escritos del poeta dadaísta Tristan Tzara y del autor surrealista Joseph Delteil. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El escritor</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> <span style="text-align: center;">Philippe Soupault le dedicó varios poemas a sus trajes simultáneos y también escribieron sobre ellos Apollinaire, Ramón Gómez de la Serna, Guillermo de Torre... Y es que Sonia consideraba que la poesía circulaba a través de todas las creaciones del arte.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sonia Delaunay colaboró con el poeta </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Blaise Cendrars (el libro del Transiberiano) y él le dedicó este bello poema:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre la ropa ella tiene un cuerpo.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Y sobre la cadera, la firma del poeta.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQT3w4zLmGvHyf1eu2UYmmhoc16EYPiFVGeDT9IAgGMAsMMhd2vqujntVuBFwfmhFoRSN9OBkNcOuiDiaYmgMGGWV89HqZcpZxa7IKuIFWsTZTTALfHMw1XxAWlVvbo1ShiO1twjwtULk/s1600/dress+poem2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1006" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQT3w4zLmGvHyf1eu2UYmmhoc16EYPiFVGeDT9IAgGMAsMMhd2vqujntVuBFwfmhFoRSN9OBkNcOuiDiaYmgMGGWV89HqZcpZxa7IKuIFWsTZTTALfHMw1XxAWlVvbo1ShiO1twjwtULk/s640/dress+poem2.jpg" width="468" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Vestido-Poema</i>, Sonia Delaunay, 1922. Fuente de la imagen: https://es.pinterest.com/triskelion/sonia-delaunay/?lp=true</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqgc2J0hBxOjeyKbNOcdk2kWkr9BtlOZuve4lycq22Ez9YXrFzC_ewU0J8evmFgW3Vqga53tskAi9nRXlaaVOvHGeqfwC5YWrhToNKbLbjPIsL-ANgdEm6bJE7EXuIIhuuH3Hb2dYSo_o/s1600/dress+poem.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="507" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqgc2J0hBxOjeyKbNOcdk2kWkr9BtlOZuve4lycq22Ez9YXrFzC_ewU0J8evmFgW3Vqga53tskAi9nRXlaaVOvHGeqfwC5YWrhToNKbLbjPIsL-ANgdEm6bJE7EXuIIhuuH3Hb2dYSo_o/s640/dress+poem.jpg" width="404" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i>Vestido-Poema</i>, Sonia Delaunay, 1923. Fuente de la imagen: https://es.pinterest.com/pin/183310647309684224/</span><br />
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<b style="font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: x-large;">Vestuario para Ballets y Otros Espectáculos</span></b></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;"><span style="font-family: "arial";">En 1917, en Madrid, los Delaunay conocieron a Sergei Diaghilev, el empresario de los míticos Ballets Rusos. Entablaron amistad con él así como con el bailarín y coreógrafo Massine y los músicos Stravinsky y Manuel de Falla. Diaghilev pretendía contrartarlos para que trabajaran permanentemente para los ballets rusos en lugar de Natalia Gontcharova y Larionov.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;"><span style="font-family: "arial";">En 1918 realizaron una colaboración juntos: rediseñaron el vestuario (Sonia) y la escenografía (Robert) del ballet dramatizado "Cleopatra" ya que los diseños originales realizados por León Bakst en 1909 se habían perdido (quemados).</span> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfhBSF2dcdQ0JsCw_hrBrf5wjk7d-jcgMoilSqHcXemANuzK06HUtaEAWikDxHW8ZfUHhPVph_pzU_ROP5OCUwdjP7CVGeo_ekaucXPFwK4UevhMViWsM0P7EOSYLHUPRB8xhn2_lBLo0/s1600/amigos+sonia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="268" data-original-width="400" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfhBSF2dcdQ0JsCw_hrBrf5wjk7d-jcgMoilSqHcXemANuzK06HUtaEAWikDxHW8ZfUHhPVph_pzU_ROP5OCUwdjP7CVGeo_ekaucXPFwK4UevhMViWsM0P7EOSYLHUPRB8xhn2_lBLo0/s640/amigos+sonia.jpg" style="cursor: move;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay -de izquierda a derecha- acompañada por Robert Delaunay, Boris Kochno, Igor Stravinsky, Serge Diaghilev, el compositor español Manuel de Falla y Randolfo Barocchi. Madrid, 1921. Fuente de la imagen:https://es.pinterest.com/pin/368802656961512570</span>/<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-GyiElsPWiCv2H8aDGEAoJz8-DDu0K5qhRtUrNWv00prNblPcYFJcR9YEUX9uA5DIgZQ8XD44XobEITcIXI82SUAR7bbnV4TkHqs1zWlYOpWeQw6nVlJfQtdIx7OHOKYXA4m5K2cJ6A/s1600/cleopatra-design-sonia-delaunay-1918-lubov-tchernicheva.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="546" data-original-width="686" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-GyiElsPWiCv2H8aDGEAoJz8-DDu0K5qhRtUrNWv00prNblPcYFJcR9YEUX9uA5DIgZQ8XD44XobEITcIXI82SUAR7bbnV4TkHqs1zWlYOpWeQw6nVlJfQtdIx7OHOKYXA4m5K2cJ6A/s640/cleopatra-design-sonia-delaunay-1918-lubov-tchernicheva.jpg" width="640" /></a></td></tr>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">D<span style="font-family: "arial" , "helvetica" , sans-serif;">iseños de Sonia Delaunay para <i>Cleopatra,</i> Ballets Rusos de Diaghilev, 1918. La actriz que lleva el diseño original es Lubov Tchernicheva. Fuente de la imagen: </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">http://tmlarts.com/robert-delaunay/</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQyKKZy2do5neW5NeW7rUnIn7EeUKJeEAH4I1FIjNY5FH79MRxf64Bt51EN1LiFHyMSROcgTZNbJDO1_HhanQtFz7JE9wnXZyGxVPA1VVS-utY0cWVBqZ5qsDKgtV7a-jVsvvL5l0MYg/s1600/sonia+ballet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="286" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQyKKZy2do5neW5NeW7rUnIn7EeUKJeEAH4I1FIjNY5FH79MRxf64Bt51EN1LiFHyMSROcgTZNbJDO1_HhanQtFz7JE9wnXZyGxVPA1VVS-utY0cWVBqZ5qsDKgtV7a-jVsvvL5l0MYg/s640/sonia+ballet.jpg" width="456" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diseño de Sonia Delaunay para el Ballet <i>Cleopatra,</i> 1918-1930. Fuente de la imagen: https://nga.gov.au/</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcW8TyDpFBFRuAjynhYz7km_g4-pXzZ_kl2GRC7Wwkbxki5MVYOHq2gKqJio9n2zrjv01p8-YuLgkzDeEUmIZDNIbOJPPayicGbrMpd6ocfWxyQYo1NdKiIFxWYa-0h66jdUpKAd4tNNg/s1600/vestididto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="351" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcW8TyDpFBFRuAjynhYz7km_g4-pXzZ_kl2GRC7Wwkbxki5MVYOHq2gKqJio9n2zrjv01p8-YuLgkzDeEUmIZDNIbOJPPayicGbrMpd6ocfWxyQYo1NdKiIFxWYa-0h66jdUpKAd4tNNg/s640/vestididto.jpg" width="374" /></a></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diseño de Sonia Delaunay para el Ballet <i>Cleopatra </i>(Ballets Rusos de Diaghilev) Fuente de la imagen: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">https://artsearch.nga.gov.au</span></td></tr>
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<span style="font-family: "arial"; font-size: x-large;">Estos diseños fueron realizados con vivos colores en algodón y decorados con motivos ornamentales en satén, terciopelo y apliques metálicos. </span><br />
<span style="font-family: "arial"; font-size: x-large;">Este espectáculo se reestrenó en Londres en 1918.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Más diseños de "Cleopatra" en la web del</span><a href="http://collections.vam.ac.uk/item/O1114730/theatre-costume-bakst-leon/" style="font-family: arial, helvetica, sans-serif;"> </a><br />
<a href="http://collections.vam.ac.uk/item/O1114730/theatre-costume-bakst-leon/" style="font-family: arial, helvetica, sans-serif;">Museo Victoria & Albert</a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sonia realizó otros proyectos como el vestuario para la ópera "Aida" en el Liceo barcelonés.</span><br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnl4tjGCnHvY3bjPgvok6yFNbaNggA9MSiQsrGQjjHxfdFzC_f3IBFwB6vX9U1gA6sVdQiBq3I45PEPKEVb0I8JenMMk6O0p33YvZ8F-HtNH8mSZuwDu03C8TjIO6OvX5I371EsXXi9sY/s1600/vestuario+sonia.jpg" imageanchor="1" style="clear: right; font-weight: normal; margin-bottom: 1em; margin-left: 1em; text-align: start;"><img border="0" data-original-height="702" data-original-width="533" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnl4tjGCnHvY3bjPgvok6yFNbaNggA9MSiQsrGQjjHxfdFzC_f3IBFwB6vX9U1gA6sVdQiBq3I45PEPKEVb0I8JenMMk6O0p33YvZ8F-HtNH8mSZuwDu03C8TjIO6OvX5I371EsXXi9sY/s640/vestuario+sonia.jpg" width="484" /></a></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Vestuario de Pierrot-Éclair diseñado por Sonia Delaunay para el film Le P´tit Parigot, 1926. Fuente de la imagen: tate.org.uk</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;">El diseño de moda e interiores van ineludiblemente unidos en Sonia Delaunay. Sus proyectos, de una modernidad increíble, nos reflejan el espíritu de la época, marcada por las vanguardias (Cubismo, Bauhaus, Futurismo, Surrealismo, etc.) y el Art Déco.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Diseños textiles de Sonia Delaunay en las paredes del salón de su casa, 1925. Sonia Delaunay supo conjugar a la perfección el diseño de moda con el de interiores. Fuente de la imagen: tate.org.uk</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Dining room designed by Sonia Delaunay. Madrid, 1918-1920.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Photo: Bibliothèque Nationale de France. Fuente de la imagen: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">http://thecostumeblog.blogspot.com.es</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">El teatro <i>Petit Casino</i> de Madrid decorado por Sonia Delaunay en 1919. Fuente de la imagen: Museo Thyssen</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdji6dsjG1u8sdPyFCemZdgDevVZ000M4PO1sGPv_xsH-Nbc8bYJkqwRFe4_7kYGt6J4vWVS8C8XRtuRB8aG0WTFQXLMqsz6LL1b5bPFFMSio7BAafg8TMQHSN1OQMJtuUMq6rQKtBIUY/s1600/interior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1525" data-original-width="1600" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdji6dsjG1u8sdPyFCemZdgDevVZ000M4PO1sGPv_xsH-Nbc8bYJkqwRFe4_7kYGt6J4vWVS8C8XRtuRB8aG0WTFQXLMqsz6LL1b5bPFFMSio7BAafg8TMQHSN1OQMJtuUMq6rQKtBIUY/s400/interior.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Escena de interior, Sonia Delaunay, 1922. Fuente de la imagen: http://grofouillis.canalblog.com/archives/2014/10/26/30836945.html</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Otros Diseños</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Coche con diseños de Sonia Dalaunay que podemos contemplar en el Museo del Automóvil de Málaga.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: start;">Vestidos simultáneos en un automóvil Citroen B12 diseñado por Sonia Delaunay en 1925. Fuente de la imagen:http://www.hintmag.com/post/sonia-delaunay-tate-modern--april-29-2015-1916</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Legado</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCP1fkQXCc5fWicn20o5Y-FKPumu_SVqds6Oc6AygKsApKPWzGMdI5ZzjXHmaG2n5Hv3Vpz_a9XB587W3ukAFmYGcYWLFaspLJAxFeCfJirUr5bmsNX_6Jlw96j7rjTQb8IB0gYG5ksIU/s1600/SONIA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="601" data-original-width="500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCP1fkQXCc5fWicn20o5Y-FKPumu_SVqds6Oc6AygKsApKPWzGMdI5ZzjXHmaG2n5Hv3Vpz_a9XB587W3ukAFmYGcYWLFaspLJAxFeCfJirUr5bmsNX_6Jlw96j7rjTQb8IB0gYG5ksIU/s640/SONIA.jpg" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sonia Delaunay con algunos de sus diseños. Fuente de la imagen:https://es.pinterest.com/tategallery/pattern-power-sonia-delaunay/</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sonia Delaunay estuvo trabajando hasta el final de sus días. Murió en París en 1979. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Es gracias a exposiciones como la que actualmente tiene lugar en el Museo Thyssen como se pone en valor y reivindica el papel de artistas clave como Sonia Delaunay, en este caso crucial en el desarrollo de las vanguardias y el diseño del siglo XX y que durante mucho tiempo ha estado eclipsada por la obra de su marido Robert Delaunay. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Pioneros de la abstracción, siempre innovando, el legado artístico de ambos es uno de los más impresionantes de todo el arte y diseño contemporáneo.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sobre Sonia, Robert Delaunay aseguraba que a ella debemos este arte nuevo que no copia nada del pasado y que marca nuestra época.</span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Video "L´élégance" con diseños de Sonia Delaunay (c. 1925)</span></span></b><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">PARA SABER MÁS</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkXNvkslBtqp1gMPiHvVNbCVxv5prWPKCtVUcVaDzQsySg5nuwNb_XBZKSz2b2PvyMazTayU_1V4WNdhFoobt2r1yWhl7L6N3PghK77YtnG3ZA9M_DvNSTq6aBi_vfiqOc9f0onXfS9U/s1600/LIBRO+DE+SONIA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="430" data-original-width="265" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnkXNvkslBtqp1gMPiHvVNbCVxv5prWPKCtVUcVaDzQsySg5nuwNb_XBZKSz2b2PvyMazTayU_1V4WNdhFoobt2r1yWhl7L6N3PghK77YtnG3ZA9M_DvNSTq6aBi_vfiqOc9f0onXfS9U/s640/LIBRO+DE+SONIA.jpg" width="394" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Autobiografía de Sonia Delaunay</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4CT9bUO7U50BpFd99AqNysa33zIKIDapXv1ahp7EodeBXliW1id3uz2zDSCX6kHKepClYAWAR1vIKjv4JHm7XoewWZHhY0TxsM7ZP9EJ8pKHsSWlNEWjJv1CvwZO2365bTc9f11GM_W8/s1600/cat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4CT9bUO7U50BpFd99AqNysa33zIKIDapXv1ahp7EodeBXliW1id3uz2zDSCX6kHKepClYAWAR1vIKjv4JHm7XoewWZHhY0TxsM7ZP9EJ8pKHsSWlNEWjJv1CvwZO2365bTc9f11GM_W8/s640/cat.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Catálogo de la exposición "Sonia Delaunay. Arte, Diseño, Moda", Museo Thyssen, Madrid, 4 de julio-15 de octubre 2017,</span></td></tr>
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<span style="font-size: x-large;"><a href="https://www.museothyssen.org/exposiciones/sonia-delaunay-arte-diseno-moda">Web del Museo Thyssen</a> y <a href="http://pdigital.museothyssen.org/index.html?revista=204825423&pagina=-38790#">documentación adicional</a></span><br />
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<span style="font-size: x-large;">La influencia de Sonia Delaunay en la diseñadora de joyas canaria Helena Rohner</span><br />
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<a href="https://vimeo.com/225989690">Helena Rohner habla de Sonia Delaunay</a> from <a href="https://vimeo.com/museothyssen">museothyssen</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="font-size: x-large;">Lorenzo Caprile comenta la exposición de Sonia Delaunay en el Museo Thyssen de Madrid</span><br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/225988418" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/225988418">Lorenzo Caprile habla de Sonia Delaunay</a> from <a href="https://vimeo.com/museothyssen">museothyssen</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<span style="font-size: x-large;"><a href="http://www.hoyesarte.com/evento/2017/07/sonia-delaunay-vanguardia-pictorica-y-moda/?utm_source=Boletin_20170703_1613&utm_medium=boletin&utm_campaign=boletin">La exposición de Delaunay en HoyesArte </a></span><br />
<span style="font-size: x-large;"><a href="https://www.march.es/arte/exposiciones/artista.aspx?clave_autor=1115&clave_expo=85">Web de la Fundación March</a></span><br />
<span style="font-size: x-large;"><a href="http://www.theartstory.org/artist-delaunay-sonia.htm">Sonia Delaunay en TheArtStory</a></span><br />
<span style="font-size: x-large;"><a href="http://www.tate.org.uk/whats-on/tate-modern/exhibition/sonia-delaunay">Exposición de Sonia Delaunay en la Tate</a></span><br />
<span style="font-size: x-large;"><a href="https://es.pinterest.com/tategallery/pattern-power-sonia-delaunay/">El impacto de Sonia Delaunay en los diseñadores contemporáneos.</a></span><br />
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0tag:blogger.com,1999:blog-8265587279902146571.post-44951902783504347372022-03-29T10:40:00.000+02:002022-03-29T10:40:13.285+02:00EL DAVID DE MIGUEL ÁNGEL<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb24yQFMrL0J6WACrZ0IB_h1jMCIFZAFupEzYR1wollAVqdxxgLDmJ14m6V63FvNOR98thzfphh7dgge2kOYyG46TJHqxohk6-xCsnssyYVOqwG9ME0ovR0vP-fuE10lZjF03CDWz-PZI/s1600/314px-David_von_Michelangelo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb24yQFMrL0J6WACrZ0IB_h1jMCIFZAFupEzYR1wollAVqdxxgLDmJ14m6V63FvNOR98thzfphh7dgge2kOYyG46TJHqxohk6-xCsnssyYVOqwG9ME0ovR0vP-fuE10lZjF03CDWz-PZI/s640/314px-David_von_Michelangelo.jpg" height="640" width="334" /></a></div>
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<b><span style="font-size: large;">COMENTARIO DE IMÁGENES: EL DAVID DE MIGUEL ÁNGEL (RENACIMIENTO)</span></b></div>
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<span style="font-size: large;">“Ahora comprendemos mejor el porqué un arte preocupado principalmente por la figura humana deba atender ante todo al desnudo, así como la razón de que éste haya constituido el problema más apasionante del arte clásico de todas las épocas. No sólo es el mejor vehículo transmisor de todo aquello que el arte corrobora y acreciente de manera inmediata el sentido de la vida, sino que es también en sí mismo el objeto más significante del mundo de los hombres. El primero en comprender plenamente, desde la gran época de la escultura griega, la identidad del desnudo con el gran arte figurativo, fue Miguel Ángel. Antes de él, había sido estudiado con miras científicas, como un recurso para plasmar la figura envuelta en ropajes. Miguel Ángel vio que entrañaba un fin en sí mismo e hizo del desnudo la suprema finalidad de su arte. Para él, arte y desnudo eran sinónimos. En ello reside el secreto de sus triunfos y sus fracasos.”</span></div>
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<b><span style="font-size: large;">B. Berenson: Los pintores italianos del Renacimiento, Barcelona, 1954, pág. 85.</span></b></div>
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<b><span style="font-size: large;">I. CATALOGACIÓN DE LA OBRA</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRsUY4DqA4eAKqMDi3YoLFtbYp1e2ajwY0_yzaBfC5P_VdtEMBPqpvwmWuUC3oFXfJZj4LULLnNJ19xdgqB9p-hYazTXTCWxQCO2KatIvp_Q3UaVKP8s1EsVic0vzzRvXOo66cr2BuQU/s1600/Virtual+David.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRsUY4DqA4eAKqMDi3YoLFtbYp1e2ajwY0_yzaBfC5P_VdtEMBPqpvwmWuUC3oFXfJZj4LULLnNJ19xdgqB9p-hYazTXTCWxQCO2KatIvp_Q3UaVKP8s1EsVic0vzzRvXOo66cr2BuQU/s640/Virtual+David.jpg" height="640" width="268" /></a></div>
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<span style="font-size: large;">-Esta lámina nos muestra la deslumbrante escultura del <i>David</i> de Miguel Ángel. El <b>AUTOR</b> es el florentino <b>MIGUEL ÁNGEL BUONARROTI</b> (1475-1564). Renacentista del Cinquecento, este polifacético artista tuvo a la escultura como su arte predilecta aunque también destacó como pintor, arquitecto y poeta. En su tiempo alcanzó un gran prestigio y sus obras, incluso las inacabadas, fueron durante siglos fuente de inspiración para los artistas. Nacido en el pueblo toscano de Caprese en 1475, procedente de una familia culta de noble abolengo, se formó en Florencia. Desde muy joven quiso ser artista. De temperamento irascible, poético y lírico, sus luchas internas se reflejan en sus obras que están llenas de fuerza y dramatismo. Su precoz habilidad para dibujar le llevó a los trece años al taller de Ghirlandaio y a “la academia del jardín” de los Medici para dibujar los mármoles y bronces clásicos reunidos por Lorenzo el Magnífico, que le aceptó y protegió como un ahijado. Lorenzo de Medici fue su mecenas en sus primeros años , y en Roma lo sería el Papa Julio II para quien realizaría las pinturas de la capilla Sixtina del Vaticano. Su producción artística engloba las más diversas artes desde el diseño arquitectónico y el urbanismo –c<i>úpula de San Pedro del Vaticano</i>, <i>plaza del Capitolio</i> de Roma- hasta la pintura –<i>capilla Sixtina</i> -la poesía, o la escultura, en la que descollará tanto en obras de temática profana como religiosa. </span><br />
<span style="font-size: large;">-Como escultor, no está sujeto a un único estilo: bascula entre un clasicismo un tanto heterodoxo hasta el manierismo anticlásico que preludia el barroco. Así podemos destacar en su etapa de formación el relieve la <i>Virgen de la Escalera</i>, que muestra influencias de Donatello; de su etapa romana de fines del siglo XV e inicios del XVI descuella su clasicista <i>Piedad </i>que hemos de poner en relación con su <i>David, </i>realizado poco después y finalmente, en su etapa de madurez, varios proyectos como el <i>Moisés</i>, las tumbas de <i>Giuliano y Lorenzo de Medici</i> o sus últimas versiones del tema de la Piedad, en especial la <i>Rondanini</i>, antecedente del expresionismo del arte de vanguardia del siglo XX. </span></div>
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<span style="font-size: large;">-Desde el siglo XIX (1873) esta escultura se conserva en el <b>MUSEO </b>Galería de la Academia de Florencia (Italia) aunque durante siglos, estuvo expuesto en la plaza de la Signoria de esta ciudad, justo enfrente del palacio Vecchio, edificio que albergaba el poder político de la ciudad. Hoy en esta plaza se alza una réplica de esta célebre escultura.</span></div>
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<span style="font-size: large;">-<b>CRONOLÓGICAMENTE</b> esta estatua está fechada en los años 1502-1504 y pertenece por tanto al Cinquecento. Estilísticamente es una obra plenamente renacentista. </span></div>
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<span style="font-size: large;">-Por lo que se refiere a los <b>COMITENTES </b>de esta escultura, fueron las autoridades de la república de Florencia, ligados a la catedral de Florencia y al poderoso gremio del Arte de la Lana. En realidad, este proyecto artístico formaba parte de uno mucho más complejo que consistía en la elaboración de 12 esculturas de personajes del Antiguo Testamento sobre los contrafuertes exteriores del ábside de la catedral Santa María de las Flores. Para realizar la estatua de una de los personajes, el rey David, las autoridades dispusieron un gigantesco bloque de mármol de Carrara. En 1464 le encargaron al escultor <b>Agostino di Duccio</b> su elaboración, pero ante la enorme dificultad de esta empresa renunció, como también renunciaría otro escultor, <b>Antonio Rossellino</b>. Finalmente, las autoridades florentinas encargaron en 1501 esta escultura a Miguel Ángel que asumió el reto y en tan sólo dos años realizó el David, sin duda una de sus obras maestras. Se expuso por primera vez al público el 8 de septiembre de 1504.</span></div>
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<span style="font-size: large;">-Realizada utilizando un solo bloque <b>MARMÓREO,</b> largo, gigantesco y estrecho, esta escultura de <b>BULTO REDONDO </b>mide más de 5 metros y pesa 5.5 toneladas. Cuando se realizó la obra contenía aplicaciones de <b>oro,</b> hoy perdidas, en algunas partes de la escultura como la base de la misma.</span></div>
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<span style="font-size: large;">-El <b>TEMA</b> que muestra esta escultura es de carácter ¿religioso?. En principio así parece, ya que representa a una figura histórica y mítica extraída del Antiguo Testamento, al heroico rey de Israel, David. Este personaje fue pastor en su juventud y tras vencer a su enemigo Goliat, fue proclamado rey del pueblo de Israel. Fue un valeroso guerrero, músico y poeta. En el cristianismo es venerado como un santo y de su estirpe desciende, según el evangelio de San Mateo, San José, padre putativo de Jesús. </span></div>
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<span style="font-size: large;">-Los <b>ANTECEDENTES</b> de este tema en el arte son abundantes. Durante la Edad Media, <b>iconográficamente</b> a David se le representa como un rey con su corona, tocando el arpa o la lira. Así lo encontramos en pinturas, ilustraciones y esculturas (relieves). En el Renacimiento, en cambio, los escultores como <b>Donatello</b> o <b>Verrochio</b> lo esculpen como un bello adolescente, de anatomía frágil y serena expresividad. Presentan ya como símbolos arquetípicos del rey David, la espada y la cabeza del gigante Goliat. Por su parte,Miguel Ángel innova absolutamente a la hora de tratar a este mítico personaje. Lo representa como un héroe, un joven atlético de inspiración clásica, totalmente desnudo y sin más atributo identificativo de su condición de rey David que su mítica honda. De hecho, este escultor elige el momento en el que se está preparando para lanzar su arma contra su enemigo. Con Miguel Ángel, el rey David, bajo el influjo neoplatónico, trasciende su significación religiosa, se convirtió más allá de su lectura bíblica, en un emblema del poder de la inteligencia sobre la fuerza bruta y en un símbolo de afirmación de la república florentina. Es una obra de transcendencia política. Las propias palabras de Miguel Ángel al acabar la escultura confirmaron este simbolismo: “Como David ha defendido a su pueblo, así quien gobierna Florencia debe justamente defenderla y gobernarla con justicia“. Recordemos que esta escultura se realiza poco después de haber sido expulsados los Medici del gobierno de la ciudad y con el temor a su vuelta y al expansionismo de Roma y de los Estados Pontificios que preconizaba el Papa Borgia Alejandro VI. Por lo demás, hay que recordar que Miguel Ángel realizó a inicios del siglo XVI “otro” David, hoy perdido, llamado el <b>David de Rohan</b>, realizado en bronce, y del cual se conserva un dibujo en el Louvre. También lo esculpió como símbolo de la república florentina.</span></div>
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<span style="font-size: large;">-Aparte de los antecedentes <i>quattrocentistas </i>que encontramos en esta escultura, hay que destacar el influjo y la fuente de inspiración esencial que fue para Miguel Ángel la <b>estatuaria clásica</b> , como por ejemplo, el <i><b>Apolo de Belvedere</b></i>, una escultura helenística conocida por una copia romana. </span><br />
<span style="font-size: large;">-El ideal grecorromano de belleza y perfección anatómica, se hacen bien presentes en el <i>David</i> de Miguel Ángel. De hecho, el tratamiento que da a esta figura desde el punto de vista formal y técnico es el propio de una obra mitológica entendida en un sentido clásico. Pero ¡non troppo! Miguel Ángel es un clásico “heterodoxo”, que se aleja de las proporciones matemáticas y opta por sobredimensionar la cabeza y una de las manos. El canon, de enormes proporciones, propicia la monumentalidad, el gigantismo de esta obra, un rasgo habitual en sus esculturas. Un intenso dramatismo, la energía concentrada amenazadora, la denominada <b>terribilità</b> tan característica de sus obras, la encontramos ya en el David. El detallismo en el estudio anatómico es impresionante ya que capta con todo detalle las venas, los tendones, los músculos., incluso los huesos. La presencia de la honda sobre el hombro izquierdo mientras la otra mano desaparece por la espalda en busca del otro extremo del arma, tensa todo el cuerpo. La posición de sus manos y de su cuerpo nos revela que era zurdo. Huye de la frontalidad, y muestra un ligero contraposto, con el cuerpo dispuesto en zig-zag. La pierna derecha se apoya sobre un pequeño tronco de árbol, mientras flexiona la otra pierna, más tensa. El rostro es muy expresivo, con el ceño fruncido y la cabeza girada, buscando tal vez a Goliat. La tensión se refleja también en los labios mordidos y en los ojos muy abiertas, con una mirada desafiante, retadora y altiva. Esta tensión compositiva y expresiva rompe el ideal de armonía y equilibrio, como se aprecia hasta en el cabello, con volumen y juego de luces y sombras, revuelto y maravillosamente trabajado a trépano.</span></div>
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<span style="font-size: large;">-La <b>FUNCIÓN o FINALIDAD</b> en un principio era religiosa y decorativa, puesto que en el objetivo era situar esta escultura en el exterior de la catedral de Santa María de las Flores junto con otras imágenes de personajes representativos del Antiguo Testamento. Pero una vez realizada la obra, los comitentes consideraron que esa ubicación no era adecuada y nombraron una comisión ciudadana en la que se encontraban artistas tan prestigiosos como Botticelli o Leonardo da Vinci que decidieron que el lugar idóneo era la <b>Loggia dei Lanzi,</b> una zona porticada en la propia plaza de la Signoria. Miguel Ángel se opuso y al final triunfó su criterio: su David se alzaría, altivo y victorioso, como un nuevo Hércules sacro y pagano a un tiempo, en el corazón de la ciudad, en la plaza de la Signoria, frente al palacio Vecchio. Finalmente, lo que iba a ser una obra religiosa, se acabó convirtiendo por mor de los acontecimientos y la voluntad del artista, en todo un símbolo político a mayor gloria de Florencia frente a sus enemigos. En su ubicación original, la mirada implacable de David se dirigía directamente a Roma como nuevo Goliat. En cambio, en su nueva lugar en la Accademia, mira hacia una columna.</span></div>
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<span style="font-size: large;">-Por lo que se refiere a los <b>CONSECUENTES </b>de esta obra, hemos de ponerla en relación con otras esculturas del Miguel Ángel,en concreto con su proyecto inacabado más ambicioso: el sepulcro del papa Julio II. De este proyecto destaca el <i>Moisés</i>, obra capital de fuerza contenida, que hemos de poner en relación con el David. Asimismo, los <i>sepulcros de Giuliano y Lorenzo</i> de la poderosa familia Medici en la iglesia de San Lorenzo de Florencia, realizados entre los años 1520-34. En este conjunto escultórico destacan las figuras alegóricas del <i>Día y la Noche, el Crepúsculo y la Aurora</i>, entendidas como robustos cuerpos desnudos. La tensión, la expresividad y el estudio anatómico anticlásico nos señalan el carácter manierista de estas estatuas. Tampoco debemos olvidar en su producción escultórica la clasicista <i>Piedad </i>del Vaticano (1495) y otras versiones, mucho más atormentadas de este tema, como la Piedad de la catedral de Florencia o la<i> Rondanini,</i> apenas esbozada.</span></div>
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<span style="font-size: large;">-Por otro lado, la magnitud del genio de Miguel Ángel ensombrece al resto de los escultores coetáneos de la época aunque hay autores muy relevantes, que muestran influencia miguelangelescas como los manieristas <b>Baccio Bandinelli</b>- autor de un <i>Hércules y Caco</i>–<b>Ammanati</b> y su fuente de <i>Neptuno-</i>, <b>Benvenuto Cellini</b>, orfebre extraordinario y maravilloso fundidor y <b>Juan de Bolonia</b>, portentoso artista que tuvo un enorme éxito europeo. </span></div>
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<span style="font-size: large;">Sobre <b>Benvenuto Cellini</b> conviene destacar que su <b><i>Perseo degollando a Medusa</i></b> (1554) que se alza en la Loggia dei Lanzi de la plaza de la Signoria de Florencia es el contrapunto al David, puesto que simboliza la vuelta al poder de los Medici en la persona del duque Cosme I -mecenas de Cellini- y su triunfo sobre sus oponentes republicanos.</span></div>
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<span style="font-size: large;">-Los escultores manieristas españoles también acusan la influencia de Miguel Ángel: <b>Alonso Berruguete</b> –quien se educó en Italia y conoció personalmente a Miguel Angel- o <b>Juan de Juni.</b></span></div>
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<span style="font-size: large;">-En el siglo XVII, ligado al <b>estilo barroco,</b> la influencia de Miguel Ángel es omnipresente. Se hace especialmente evidente en las esculturas del máximo escultor de esta etapa: el napolitano <b>Gian</b> <b>Lorenzo Bernini</b>. La huella miguelangelesca con la pasión por la expresividad, dinamismo y cierta terribilità contenida se aprecian en sus grandiosos <i>David</i>, <i>Apolo y Dafne</i> o <i>el rapto de las Sabinas</i> todas ellas conservadas en el imprescindible museo romano Galería Borghese.</span></div>
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<span style="font-size: large;">-Y entre muchísimos más autores que esculpen bajo la influencia de Miguel Ángel, no podemos dejar de citar al gran escultor francés “impresionista”, <b>Auguste Rodin</b>, que unirá a la influencia de Miguel Ángel, la de Bernini en su grandiosa producción (<i>el pensador, el beso</i>, etc.).</span></div>
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<span style="font-size: large;">-La <b>SIGNIFICACIÓN HISTÓRICA </b>del <i>David</i> de Miguel Ángel viene dada, en primer lugar, porque es una obra maestra, emblema del Renacimiento y porque es un símbolo de Italia en general y de Florencia en particular. </span></div>
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<span style="font-size: large;">-Sobre el <b>ESTADO DE CONSERVACIÓN</b> de esta obra hay que señalar que fue restaurada en el año 2004 ya que su estado era muy delicado. Hemos de recordar que esta escultura ha sufrido durante siglos las inclemencias del tiempo, al estar situada al aire libre, además de todo tipo de avatares: el efecto de un rayo sobre la base, la rotura de uno de los brazos durante una revuelta, y los efectos dañinos de una restauración del siglo XIX realizada con ácido clorhídrico que destruyó la capa de cera que lo protegía. </span></div>
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<span style="font-size: large;">-En <b>CONCLUSIÓN</b>, esta obra maestra de Miguel Ángel ha pasado a la posteridad como una de las esculturas más perfectas de todos los tiempos, “superior a todas las estatuas, modernas o antiguas” como ya vislumbrara Vasari. Finalmente, hemos de recordar que ningún artista había sido celebrado en vida tanto como él hasta el punto de convertirse en un mito de artista atormentado y genial, calificado ya en vida como “el Divino”.</span></div>
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<b><span style="font-size: large;">IMÁGENES</span></b><br />
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<span style="font-size: large;"><b>Detalles del <i>David</i></b><b> </b>de Miguel Ángel, Museo Galería de la Academia, Florencia</span></div>
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<span style="font-size: large;"><i><b>Réplica del David </b></i>en la plaza de la <b>Signoria</b> de Florencia, situada enfrente del palacio <b>Vecchio</b>, sede del poder civil de la ciudad. En esta plaza estuvo expuesta durante siglos el verdadero David de Miguel Ángel, que hoy se conserva en el museo Galería de la Academia de Florencia.</span></div>
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<span style="font-size: large;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu4j73xQ1jMfGRIfItU4mXRmbB58MQmTbMydZ6rPMcgGiCbM5_KD6bOmwMetJGdJUdwALlFUE1k6uw92qTNx8P1U8F_kaxSVdlkl_JLPLQMruOMSIILglzFfnhcAxMfNeBrXD1oK9CKCM/s1600/PLAZA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu4j73xQ1jMfGRIfItU4mXRmbB58MQmTbMydZ6rPMcgGiCbM5_KD6bOmwMetJGdJUdwALlFUE1k6uw92qTNx8P1U8F_kaxSVdlkl_JLPLQMruOMSIILglzFfnhcAxMfNeBrXD1oK9CKCM/s640/PLAZA.jpg" height="316" width="640" /></a></div>
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<span style="font-size: large;"><b>La iconografía del Rey David en la Edad Media</b>: suele aparecer tocando la lira. Ejemplos: El Rey David de la Catedral de León, el rey David de la puerta de las Platerías de la catedral de Santiago de Compostela y un ejemplo de una ilustración medieval. </span></div>
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<span style="font-size: large;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg98NeeJyiesE4N_A4GLhp1iBEqUoQ3-DNYLoPiDowQ8_oVS1HsLS0qIcG-BGMhBPsPcNUtA9D33rM-4r-2pZvXQ6iRfaiQYQy0RmHtcBUBjp9Ny859QsNcLM7_te26taWkUScqvcE7qjQ/s1600/EDAD+MEDIA+DAV.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg98NeeJyiesE4N_A4GLhp1iBEqUoQ3-DNYLoPiDowQ8_oVS1HsLS0qIcG-BGMhBPsPcNUtA9D33rM-4r-2pZvXQ6iRfaiQYQy0RmHtcBUBjp9Ny859QsNcLM7_te26taWkUScqvcE7qjQ/s640/EDAD+MEDIA+DAV.jpg" height="252" width="640" /></a></div>
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<span style="font-size: large;"><b>Antecedentes</b>: la escultura grecorromana. Un ejemplo: <i><b>el Apolo de Belvedere, </b></i>c. 340 a de C, copia romana de original helenístico. Museos Vaticanos.</span></div>
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<span style="font-size: large;"><b>Dos antecedentes <i>quattrocentistas</i></b>: el <i>David </i>de <b>Donatello</b> (en sus dos versiones, una en bronce y otra en mármol, ambas en el Museo Bargello de Florencia)y el <i>David</i> de <b>Verrochio</b> para el que se cree sirvió de modelo un jovencísimo Leonardo da Vinci </span></div>
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<span style="font-size: large;"><b>Otras obras</b> de Miguel Ángel: <i><b>Moisés, Esclavo,</b><b> la Aurora</b></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyRdcT2qh1eKRtILD6VSN4A_MRLss5-rgo8HlucM06UetrK9iG2Yv0FGldY6HK1i_xk5jVNBqjzN6SeTvujrSLd4DTd6Q-MMnvvYGwAJR_uHEO9JPwczk0aGOoMixr7UyxZgr-ExBahAc/s1600/moises-de-miguel-angel-585641.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyRdcT2qh1eKRtILD6VSN4A_MRLss5-rgo8HlucM06UetrK9iG2Yv0FGldY6HK1i_xk5jVNBqjzN6SeTvujrSLd4DTd6Q-MMnvvYGwAJR_uHEO9JPwczk0aGOoMixr7UyxZgr-ExBahAc/s640/moises-de-miguel-angel-585641.jpg" height="640" width="476" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbhV_r7zStClFu-HJiPbt-_dqh_fC2_RhIZErEes4gwmqK671nnJH6bzELLVlmWRF8GxCAHuAT05hld5xVWOqn_dByOzoSWaBH3FWVbTDsEqAWb4_XUUQ3Apif6V7Z-4ePixmbT0LZ-3M/s1600/22+-+Miguel+Angel+-+Esclavo+del+Sepulcro+de+Julio+II.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbhV_r7zStClFu-HJiPbt-_dqh_fC2_RhIZErEes4gwmqK671nnJH6bzELLVlmWRF8GxCAHuAT05hld5xVWOqn_dByOzoSWaBH3FWVbTDsEqAWb4_XUUQ3Apif6V7Z-4ePixmbT0LZ-3M/s640/22+-+Miguel+Angel+-+Esclavo+del+Sepulcro+de+Julio+II.jpg" height="640" width="246" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_qo9BQ0JUBk1_9c2b4aDTVBF5cQcMmDYbLBRRDMhVi4IfV8oBNvey9HaTYqBIIC4djxgCLgu_BYif-snC6o0oCnW9Xmf9GHH-D_yIOUalss0P1ujZnI86hX5Px44D2-upzYZ1sAWJB0/s1600/Miguel+%C3%81ngel_Tumba+de+Lorenzo+de+Medici_La+Aurora.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_qo9BQ0JUBk1_9c2b4aDTVBF5cQcMmDYbLBRRDMhVi4IfV8oBNvey9HaTYqBIIC4djxgCLgu_BYif-snC6o0oCnW9Xmf9GHH-D_yIOUalss0P1ujZnI86hX5Px44D2-upzYZ1sAWJB0/s640/Miguel+%C3%81ngel_Tumba+de+Lorenzo+de+Medici_La+Aurora.jpg" height="480" width="640" /></a></div>
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<span style="font-size: large;">El <i><b>otro David de Miguel Ángel</b></i>: el <b><i>David de Rohan,</i></b> llamado así por el nombre del comitente, un mariscal francés. Este dibujo preparatorio se conserva en el Museo del Louvre, 1502-8. La escultura de bronce, la única de la que tenemos noticia que realizó Miguel Ángel, está hoy perdida. </span></div>
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<span style="font-size: large;"><b>Consecuentes</b>: un contrapunto al David de Miguel Ángel: el <i><b>Perseo</b></i> de Benvenuto Cellini</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtkC7SGkLKFtIqB_tgVy4idkp4r2sNg8pSJLX_62p8fMPMxQwdFXmiBWEc6KDqU17Op8XnimgVxmMM8Gi2d3QA2Xprc8hYubZj_Uq5L0NW4kZpqtiBvbRaTMJenmxeW9OxVgUdJJ9aP8/s1600/422+1+B+Cellini-Perseo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtkC7SGkLKFtIqB_tgVy4idkp4r2sNg8pSJLX_62p8fMPMxQwdFXmiBWEc6KDqU17Op8XnimgVxmMM8Gi2d3QA2Xprc8hYubZj_Uq5L0NW4kZpqtiBvbRaTMJenmxeW9OxVgUdJJ9aP8/s640/422+1+B+Cellini-Perseo.jpg" height="640" width="486" /></a></div>
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<span style="font-size: large;"><b>El <i>David</i> de Bernini</b>, Galería Borghese, Roma (arte barroco, siglo XVII)</span></div>
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<span style="font-size: large;">Dos ejemplos de la <b>influencia</b> de Miguel Ángel en la escultura del siglo XIX: <i>El pensador y el beso </i>de <b>Auguste Rodin</b></span></div>
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<span style="font-size: large;">El <b>David</b> de Miguel Ángel se ha convertido en un <b>icono </b>de Italia –equivalente al Coliseo por ejemplo-, de Florencia –en particular- y una fuente de inspiración para el marketing y la <b>publicidad </b>de todo tipo de productos. Algunos ejemplos:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqj5qBZ3LRKZl7Hb3u-LnkylPyJThm0anAcrGidXD-zUb5qxARliPpOnoZpACDtD1ghYZx04wMvoLhZkTHtOddS5yS9GDYQ9kYgjB7AiT7UJsI4QVPbO6HdST8v_SZPZVd0GHclbkKgW8/s1600/esculturadelrenacimientoenitalia-100308145529-phpapp01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqj5qBZ3LRKZl7Hb3u-LnkylPyJThm0anAcrGidXD-zUb5qxARliPpOnoZpACDtD1ghYZx04wMvoLhZkTHtOddS5yS9GDYQ9kYgjB7AiT7UJsI4QVPbO6HdST8v_SZPZVd0GHclbkKgW8/s640/esculturadelrenacimientoenitalia-100308145529-phpapp01.jpg" height="424" width="640" /></a></div>
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<b><span style="font-size: large;">PARA SABER MÁS</span></b><br />
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<span style="font-size: large;"><br />
</span></div>
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<span style="font-size: large;">http://www.youtube.com/watch?v=7GiL9l3C8AQ&feature=related</span></div>
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<span style="font-size: large;">http://www.youtube.com/watch?v=SRLZK-czjBg</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=bqTVFkT_DxU</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=vfpZI6YoSMQ&feature=related</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=e-l2BMStRcg&feature=related</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=inE4TToMnss&feature=related</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=9PlHO9m1cw0&feature=relmfu</span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=ML_i4lnPxGU&feature=relmfu</span></div>
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<span style="font-size: large;">http://www-graphics.stanford.edu/projects/mich/</span></div>
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<span style="font-size: large;"> </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.econ.ohio-state.edu/jhm/arch/david/David.htm</span></div>
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<span style="font-size: large;"> </span></div>
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<span style="font-size: large;">http://cultura.elpais.com/cultura/2004/05/24/actualidad/1085349602_850215.html</span></div>
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<span style="font-size: large;"> </span></div>
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<span style="font-size: large;">http://it.wikipedia.org/wiki/David_De_Rohan</span></div>
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<span style="font-size: large;"> </span></div>
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<span style="font-size: large;">http://www.youtube.com/watch?v=62xK8fJ4VZU</span></div>
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<span style="font-size: large;"> </span></div>
<div style="text-align: justify;">
<span style="font-size: large;">http://www.youtube.com/watch?v=i4Xfg0xklqo&feature=player_embedded</span></div>
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<b><span style="font-size: large;"> </span></b></div>
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<span style="font-size: large;"><br />
</span></div>
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<b><span style="font-size: large;">EL COMENTARIO COMPLETO, PINCHANDO <a href="http://www.slideshare.net/anagalvan/el-david-de-miguel-angel-12008813">AQUÍ</a></span></b></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com7tag:blogger.com,1999:blog-8265587279902146571.post-91622107854069732082022-03-10T07:59:00.000+01:002022-03-10T07:59:22.920+01:00"EL NACIMIENTO DE VENUS DE BOTTICELLI". ACTIVIDAD INTERDICISCIPLINAR. FUNDAMENTOS DEL ARTE I<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">¡Saludos!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La propuesta interdisciplinar sobre </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">"El nacimiento de Venus" de Sandro Botticelli </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> tiene como objetivo identificar, reconocer, disfrutar y debatir las claves del arte renacentista a través de una de sus obras emblemáticas. También nos ayudará a comprender la importancia de analizar una obra de arte en su contexto y su conexión con la filosofía, la literatura y las raíces culturales clásicas e incluso bajomedievales que están en la base de la cultura renacentista. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A la vez, nos posibilitará implementar diversas competencias como la CCL -en español e inglés-, CMCT, CSC, SIE y CEC.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Fundamentos del Arte, Primer Curso de Bachillerato</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Contesta el siguiente cuestionario sobre "El nacimiento de Venus" de Botticelli a partir de la lectura del siguiente texto y después de ver los videos que se adjuntan:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">"El nacimiento de Venus" es una de las obras maestras realizadas por el pintor florentino Alessandro di Mariano di Vanni Filipepi, más conocido como Botticelli. Está fechada en el año 1485 y se conserva en la Galería de los Uffizi de Florencia (Italia). </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Realizada con la técnica del temple sobre lienzo, mide 184,5 x 285,5 cm. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Es una obra muy representativa de la pintura del <i>Quattrocento</i> florentino, ligado al círculo neoplatónico mediceo.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Está realizada sobre tela porque presumiblemente fue para una villa de los Medici. Es el primer ejemplo de pintura sobre lienzo en la Toscana. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En su elaboración utilizó polvo de alabastro, lo cual confiere un brillo especial a la obra, que la hace realmente única.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Su autor es <b>Sandro Botticelli</b> (1445-1519). Su apelativo, de origen incierto, proviene de "botticello" que significa "pequeño tonel o tonelito". </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Autorretrato de Sandro Botticelli. Detalle de su obra "La adoración de los Reyes Magos", c. 1474, Galería de los Uffizzi, Florencia</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Hacia 1460 entró en el taller de Filippo Lippi en compañía de Antonio de Pollaiuolo y Andrea del Verrochio. Su formación, como era habitual en la época, no solo abarcó la pintura, sino también la orfebrería, y de hecho en algunos detalles de sus pinturas se observa el detallismo y refinamiento de un orfebre. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Su producción pictórica abarca temas mitológicos como el que nos ocupa y su <i>pendant,</i> "La Primavera". Dicho con otras palabras, fue realizada para ser exhibida con esta obra. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /><span style="font-size: large;">La Primavera</span></i><span style="font-size: large;">, Botticelli, c. 1482. Fuente de la imagen: Wikipedia, public domain.</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">También llevó a cabo pinturas de temática religiosa y retratos de insuperable modernidad y belleza, como los que realizó a la considerada mujer más bella del Renacimiento, Simonetta Vespucci, amante de Giuliano de Medici. Ambos tuvieron un trágico destino. Ella murió jovencísima de tuberculosis y él, hermano de Lorenzo el Magnífico, fue asesinado en la Catedral de Florencia en la conjura de los Pazzi.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Se cree que fue la modelo del "Nacimiento de Venus".</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /><span style="font-size: large;">Simonetta Vespucci,</span></i><span style="font-size: large;"> Botticelli, c. 1480. Botticelli era un virtuoso en la representación de los peinados renacentistas como se aprecia en los retratos que realizó, como en este caso, con cuentas de perlas, plumas y gemas. Fuente de la imagen: Wikipedia, public domain.</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Entre sus mecenas se cuenta la familia Pucci, Bardi, Vespucci, y por supuesto Medici.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Presumiblemente el comitente de la obra fue un miembro de la poderosa familia de los Medici, en concreto se cree que era un primo de Lorenzo el Magnífico llamado Lorenzo di Pierfrancesco.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La fuente literaria procede de la obra latina <i>Metamorfosis </i>de Ovidio. También se ha señalado que presenta conexiones literarias con las <i>Stanzas</i> de Agnolo Poliziano, un poeta vinculado al círculo neoplatónico florentino. Se ha dicho que esta obra es una poesía visual.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Detalle del dios del viento del oeste Céfiro abrazado a la diosa de la brisa primaveral, Aura. Curiosamente, obsérvese el tono más oscuro de la piel del varón, convencionalismo que era habitual en el arte del antiguo ¡Egipto!</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La escena muestra el momento en que la diosa Venus -Afrodita en la mitología griega- emerge de las aguas del mar Jónico en la isla de Citérea sobre una concha marina. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La concha, junto con las rosas, son dos de los atributos de la diosa. Las rosas simbolizan el amor, por su belleza y fragancia y por sus espinas, que nos recuerdan el dolor que puede acarrear.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Venus fue una de las divinidades más adoradas en la antigüedad clásica.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En los <i>cassone, </i>especie de arcón o baúl para guardar los ajuares nupciales, eran frecuentes las representaciones de Venus. Se creía que darían suerte al matrimonio, como en esta imagen:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En "el nacimiento de Venus" de Botticelli, la diosa aparece desnuda -en su <i>birthday suit</i>- como dicen los ingleses y en este caso, nunca mejor dicho. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Es conducida a la orilla gracias al viento suave de Céfiro y la brisa de Aura, la diosa del viento primaveral. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Es recibida por la Hora -que representa a la Primavera- que la espera para taparla con una capa floreada de color melocotón.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Aunque es un desnudo muy púdico -siguiendo la estela de las Venus así llamadas- </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">es un ejemplo novedoso puesto que presenta por vez primera en el Renacimiento un desnudo femenino no bíblico bajo la influencia de la estatuaria clásica.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Como característica pintura florentina del <i>Quattrocento</i>, en ella se privilegia el dibujo sobre el color. La anatomía es muy escultórica y dibujística.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El cuerpo parece flotar en el espacio pero compositivamente no se sostiene: su centro de gravedad está fuera de la base de sustentación. Le falta lo que los clásicos denominaban como "aplomo".</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Es una imagen totalmente idealizada de fría sensualidad.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Venus capitolina <i>versus</i> la Venus de Botticelli. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Fuente de la imagen: ItalianRenaissance.org</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En la etapa medieval, los desnudos solían tener connotaciones ligadas al pecado y eran habituales en las representaciones de Adán y Eva, como vemos en la imagen:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Ocasionalmente en la etapa medieval el desnudo podía simbolizar inocencia y pureza, como en el caso de nuestra renacentista Venus.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Presenta, además, un acusado <i>contraposto </i>praxiteliano, algo que por cierto, también encontramos en muchas Vírgenes góticas. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La figura de Venus es sumamente delicada y refinada. Su piel, nacarada y espléndida, nos remite claramente al ideal de belleza <i>quattrocentista. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">De mirada ausente y melancólica, como es habitual en las mujeres pintadas por Botticelli, su larga y ondulada cabellera, no es nada habitual, por otra parte en las Venus del mundo clásico, que suelen presentar el peinado "nudo de Afrodita" también llamado "nudo isáurico o isauriano". </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En Botticelli, el peinado de Venus nos recuerda al ideal albertiano:</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><span style="font-size: large;">El cabello es de color rubio pajizo. Recordemos que en la pintura veneciana del Cinquecento causará furor el tono del cabello rubio -como vemos en las pinturas de Tiziano o Veronés- y en menor medida el pelirrojo -más ligado desde antiguo al prototipo de "mujer fatal"-.</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">"Deseo (...) que los cabellos (...) se enrosquen como si fueran a anudarse, que ondulen en el aire imitando las llamas, que tan pronto se escurran como serpientes por debajo de los otros cabellos como que se levanten por todos lados".</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><i>De pictura</i>, León Battista Alberti</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El tratamiento de las telas y texturas es espectacular, particularmente en la vaporosa y etérea figura de Hora-Primavera. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Los tejidos muestran motivos florales, finas transparencias y alusiones simbólicas: el vestido blanco está bordado con flores </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> de aciano -<i>centaurea cyanus</i>-. LLeva un cinturón de rosas -símbolo de Venus- y un collar de mirto, planta también ligada a la diosa del Amor. Tantas referencias florales son debidas a que Venus nació en Primavera. Quizá de ahí venga el dicho de que "la primavera la sangre altera" y el <i>topos</i> de la Primavera como la estación del Amor.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Vista en detalle de la figura de la Hora -que simboliza la Primavera-. Nos recuerda muchísimo a los pintores prerrafaelitas y al movimiento esteticista del siglo XIX "Arts and Crafts", claramente deudores de Botticelli.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Las ondas del mar muestran un primitivismo y un carácter un tanto infantil, que poco tiene que ver con los paisajes naturalistas del <i>Cinquecento.</i></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La composición busca la simetría y presenta carácter piramidal. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"> La Venus es la figura central y eje de la composición. El dinamismo que otorga a las figuras, como en muchas de sus obras, nos remite a un ritmo casi musical y dancístico.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La obra presenta </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">proporciones áureas, aunque la figura de Venus, con el cuello extremadamente largo y los hombros caídos, se aparta de proporciones clasicistas.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br />Agitación y dinamismo dominan la escena.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En esta obra, Botticelli no presenta un gran interés por la perspectiva, aunque sí se subraya el carácter volumétrico de las figuras. No encontramos referencias arquitectónicas aunque sí paisajísticas que nos recuerdan a la vegetación característica de los tapices medievales, tan queridos por los coleccionistas de la familia Medici.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">En esta imagen vemos las referencias paisajísticas de "El nacimiento de Venus".</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La obra se ha interpretado en clave filosófica y mística. Recordemos que el Renacimiento, lejos de ser ateo -aunque en un sentido muy diferente a la época teocéntrica medieval- busca aunar lo pagano -singularmente el platonismo- con lo cristiano. No eran, además, ajenos a la pasión por lo hermético, esotérico y cabalístico de raigambre judía.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Sabemos que B</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">otticelli conocía y compartía las teorías de la filosofía neoplatónica que tanto éxito tuvieron en la Academia florentina de los Medici a finales del siglo XV. Se reunían en la Villa campestre de Careggi, que al parecer estaba decorada con pinturas del genio florentino. Allí murió Lorenzo el Magnífico en 1492 y el filósofo Marsilio Ficino en 1499. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Botticelli también sintió una extraña fascinación por las teorías apocalípticas del monje herético Girolamo Savonarola, que a finales del <i>Quattrocento</i> fustigaba sin piedad los excesos del lujo florentino y la corrupción eclesiástica de la época. Finalmente este monje-mártir moriría ahorcado, siendo además quemado en la hoguera en la plaza de la Signoría en 1498. Para que no hubiera reliquias de él, las cenizas fueron esparcidas en el río Arno.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><span style="font-size: large;">Villa medicea de Careggi, Michelozzo, siglo XV. </span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Otra interpretación propagandística sobre "el nacimiento de Venus" la considera como una oda a la poderosa familia Medici que encargó la obra: es el inicio de una época dorada en la que reina el Amor gracias a los Medici, hábiles diplomáticos, amantes y protectores del arte, de vasta cultura.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Después de una etapa de gran éxito, en la que le llovieron los encargos, al parecer al final de su vida se inició un declive de la apreciación de su obra y murió en la miseria. En los últimos diez años de su vida no tuvo ningún encargo.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Fue prácticamente olvidado durante trescientos años. Habríamos de esperar al siglo XIX con la llegada de críticos de arte, coleccionistas y movimientos esteticistas -como los Prerrafaelitas- para que volviera a alcanzar una valoración que con el paso del tiempo no ha hecho más que acrecentarse.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Hoy está considerado como uno de los grandes genios pictóricos de la Historia del Arte occidental.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La trascendencia de la obra ha sido y es profunda. No solo en la historia del arte occidental, también en la cultura popular, la música, la publicidad, el cine, la fotografía, el diseño, la moda... como espléndidamente muestra la exposición "Botticelli reimagined" que se puede visitar en el <a href="http://www.vam.ac.uk/content/exhibitions/exhibition-botticelli-reimagined/about-the-exhibition/">Museo V & A de Londres </a>(hasta el día 3 de julio de 2016).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5G7_PnDpBBS8V6NGVkMYx9GTnfc91JI796qcEMMJOW4fPP2eGXqVrVsaz-lsVPY4t9h5YKbDfLNPZF1w6YOi4duy-dABMA5ITIga6hyLKMqisVYl45Rm-pQ0QxPnMv7kOCwqWtS1oYM0/s1600/botticelli_header.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5G7_PnDpBBS8V6NGVkMYx9GTnfc91JI796qcEMMJOW4fPP2eGXqVrVsaz-lsVPY4t9h5YKbDfLNPZF1w6YOi4duy-dABMA5ITIga6hyLKMqisVYl45Rm-pQ0QxPnMv7kOCwqWtS1oYM0/s640/botticelli_header.jpg" width="640" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgRYyO7Hv3aH227Z8MceHF-vnCYR66gcQNsxlfxtK3nfIQwInj32p5HTaaM_6Z3CpPaCoyMyEeC_MWb61YLLY5ysWX7cqnPHGfHjjDzoLRQCLl0Bzk5qfJNtWMKbC-5oHnmzmmU2hmCIQ/s1600/a.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgRYyO7Hv3aH227Z8MceHF-vnCYR66gcQNsxlfxtK3nfIQwInj32p5HTaaM_6Z3CpPaCoyMyEeC_MWb61YLLY5ysWX7cqnPHGfHjjDzoLRQCLl0Bzk5qfJNtWMKbC-5oHnmzmmU2hmCIQ/s640/a.tiff" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><span style="font-size: large;">Venus Dress: Look 15, Dolce & Gabbana, <span style="color: #2f2f2f;">S/S Fashion Show in Milan, Italy 1993. Model – Karen Mulder. Fuente de la imagen: Sitio Web del Museo Victoria & Albert de Londres</span></span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En definitiva, "El nacimiento de Venus" es una indiscutible obra maestra del arte de todos los tiempos, una celebración de la Vida y la Belleza.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Ghus6FRotqWfNi3ZbdFJDsHz7U-WCu4D3ODy3QgzbtuL4BVTy5ZZNwfUxZ3Qkba15LsYnh_cT3yJRuXbCHlQ89FtTmfHPkK9YBvv9UM5xr10ttW2mLKJ-jYw_Qd-WxhyphenhyphenZWzjCVn-jcA/s1600/1998.1.307.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Ghus6FRotqWfNi3ZbdFJDsHz7U-WCu4D3ODy3QgzbtuL4BVTy5ZZNwfUxZ3Qkba15LsYnh_cT3yJRuXbCHlQ89FtTmfHPkK9YBvv9UM5xr10ttW2mLKJ-jYw_Qd-WxhyphenhyphenZWzjCVn-jcA/s640/1998.1.307.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /><span style="font-size: large;">Venus,</span></i><span style="font-size: large;"> Warhol, 1984. Fuente de la imagen: warhol.org</span></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Cuestionario</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">1. Señala la cronología del Renacimiento en Italia.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">2. Explica la diferencia entre: </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">comitente:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">donante:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">mecenas:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">coleccionista:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">3. ¿Qué significa que la cultura renacentista es antropocéntrica?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">3. Identifica las fuentes literarias y filosóficas con las que se ha relacionado "El nacimiento de Venus" de Botticelli.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">4. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Explica la diferencia entre la técnica del temple y la del óleo.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">5. Describe los personajes presentes en la obra.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">6.La fortuna crítica de Botticelli ha sido cambiante. ¿Cuándo y por qué volvió a ser valorado?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">7. ¿Sabrías citar varios ejemplos de obras artísticas relativas a <i>Venus</i>?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">8. Señala varios ejemplos que muestren la influencia de Botticelli en diversos artistas y diseñadores de diferentes épocas.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Inglés</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Este cuestionario ha sido elaborado por nuestra compañera del equipo educativo, la maravillosa profesora de inglés Catherine Ramos:</span><br />
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<span style="font-size: x-large;">Look carefully at this masterpiece and try to answer the following questions:</span><br />
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<span style="font-size: x-large;">1-<span class="Apple-tab-span" style="white-space: pre;"> </span>Why isn’t Venus wearing any clothes?</span><br />
<span style="font-size: x-large;">2-<span class="Apple-tab-span" style="white-space: pre;"> </span>How old do you think she is?</span><br />
<span style="font-size: x-large;">3-<span class="Apple-tab-span" style="white-space: pre;"> </span>How would you describe her?</span><br />
<span style="font-size: x-large;">4-<span class="Apple-tab-span" style="white-space: pre;"> </span>Is she well-proportioned? Why?</span><br />
<span style="font-size: x-large;">5-<span class="Apple-tab-span" style="white-space: pre;"> </span>What could you say about her personality?</span><br />
<span style="font-size: x-large;">6-<span class="Apple-tab-span" style="white-space: pre;"> </span>Are her parents in the picture?</span><br />
<span style="font-size: x-large;">7-<span class="Apple-tab-span" style="white-space: pre;"> </span>Why is she riding on a shell?</span><br />
<span style="font-size: x-large;">8-<span class="Apple-tab-span" style="white-space: pre;"> </span>Why do you think she´s standing on one foot?</span><br />
<span style="font-size: x-large;">9-<span class="Apple-tab-span" style="white-space: pre;"> </span>What time of the year is it? </span><br />
<span style="font-size: x-large;">10-<span class="Apple-tab-span" style="white-space: pre;"> </span>How many things can you see in motion in this painting?</span><br />
<span style="font-size: x-large;">11-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is the woman on the right doing?</span><br />
<span style="font-size: x-large;">12-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is she holding?</span><br />
<span style="font-size: x-large;">13-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is she going to do?</span><br />
<span style="font-size: x-large;">14-<span class="Apple-tab-span" style="white-space: pre;"> </span>Who could she be?</span><br />
<span style="font-size: x-large;">15-<span class="Apple-tab-span" style="white-space: pre;"> </span>Do you think the two characters flying on the left are angels?</span><br />
<span style="font-size: x-large;">16-<span class="Apple-tab-span" style="white-space: pre;"> </span>What could they be if not?</span><br />
<span style="font-size: x-large;">17-<span class="Apple-tab-span" style="white-space: pre;"> </span>Are they male or female? </span><br />
<span style="font-size: x-large;">18-<span class="Apple-tab-span" style="white-space: pre;"> </span>Why are there different flowers floating around her?</span><br />
<span style="font-size: x-large;">19-<span class="Apple-tab-span" style="white-space: pre;"> </span>Do you know any other Venus?</span><br />
<span style="font-size: x-large;">20-<span class="Apple-tab-span" style="white-space: pre;"> </span>Do you know any other mythological paintings? Which?</span><br />
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<span style="font-size: x-large;">Compare your answers to those of your partner. Try to come to agreements. Discuss and add new ideas.</span><br />
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<span style="font-size: x-large;">RESEARCH:</span><br />
<span style="font-size: x-large;">The Birth of Venus is considered a masterpiece and is, no doubt, one of the most famous paintings of all times.</span><br />
<span style="font-size: x-large;">Do a little research with your partner and answer these questions in the shortest time possible.</span><br />
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<span style="font-size: x-large;">1-<span class="Apple-tab-span" style="white-space: pre;"> </span>Who painted this masterpiece?</span><br />
<span style="font-size: x-large;">2-<span class="Apple-tab-span" style="white-space: pre;"> </span>When was it painted?</span><br />
<span style="font-size: x-large;">3-<span class="Apple-tab-span" style="white-space: pre;"> </span>Where is it located today?</span><br />
<span style="font-size: x-large;">4-<span class="Apple-tab-span" style="white-space: pre;"> </span>Where did the artist find his inspiration?</span><br />
<span style="font-size: x-large;">5-<span class="Apple-tab-span" style="white-space: pre;"> </span>What size is the painting?</span><br />
<span style="font-size: x-large;">6-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is it painted on? </span><br />
<span style="font-size: x-large;">7-<span class="Apple-tab-span" style="white-space: pre;"> </span>What kind of paint did he use?</span><br />
<span style="font-size: x-large;">8-<span class="Apple-tab-span" style="white-space: pre;"> </span>Who are the characters that appear in the painting?</span><br />
<span style="font-size: x-large;">9-<span class="Apple-tab-span" style="white-space: pre;"> </span>What makes this work of art a truly Renaissance image?</span><br />
<span style="font-size: x-large;">10-<span class="Apple-tab-span" style="white-space: pre;"> </span>What was Venus’s name in Greek mythology?</span><br />
<span style="font-size: x-large;">11-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is her name in Italian?</span><br />
<span style="font-size: x-large;">12-<span class="Apple-tab-span" style="white-space: pre;"> </span>There is a planet named after her. The Earth is the third planet in the solar system … where is planet Venus?</span><br />
<span style="font-size: x-large;">13-<span class="Apple-tab-span" style="white-space: pre;"> </span>There is an illness named after her …What is it in Spanish? </span><br />
<span style="font-size: x-large;">14-<span class="Apple-tab-span" style="white-space: pre;"> </span>Why was Boticelli considered to be so daring when he did this painting?</span><br />
<span style="font-size: x-large;">15-<span class="Apple-tab-span" style="white-space: pre;"> </span>What is your opinion about The Birth of Venus? </span><br />
<span style="font-size: x-large;">16-<span class="Apple-tab-span" style="white-space: pre;"> </span>Which is your favourite Renaissance painting?</span><br />
<span style="font-size: x-large;">17-<span class="Apple-tab-span" style="white-space: pre;"> </span>Which is your favourite Renaissance sculpture?</span><br />
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<span style="font-size: x-large;">Homework: Boticelli’s Venus has become a global icon and many artists have been inspired by this masterpiece. Surf the internet and try to find a work of art which is clearly influenced by The Birth of Venus. Prepare a short introduction to present your discovery to the class. </span><br />
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<span style="font-size: x-large;">Extra: if you like you can draw, paint or do a collage inspired by The Birth of Venus. (We may set up an exhibition with your works).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Dibujo Artístico y Cultura Audiovisual</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Busca la inspiración en Botticelli para crear una obra artística, imaginativa y personal. Existe la posibilidad de realizar una exposición con ellas.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Lengua y Literatura</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Lectura y debate sobre la historia del nacimiento de Venus a través de textos literarios:</span></div>
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"Hay varios pasajes literarios tras este cuadro. El más antiguo se encuentra en la Teogonía, libro escrito por Hesíodo; aunque Botticelli hace algunas modificaciones importantes respecto a lo que allí se cuenta. Por ejemplo, la diosa nace en una concha, no en la espuma. También las Horas que siguen, reciben y visten a Venus, han pasado de tres (Eunomía, Dice e Irene) a una, Flora. A la misma época de Hesíodo pertenece el Segundo Himno homérico a Afrodita, uno de los poemas épicos cortos griegos atribuidos en la antigüedad a Homero. Y este texto es el que sigue Angelo Poliziano (Giostra, stanze 99-102), humanista y poeta del siglo XV, en el que se inspira directamente Botticelli.</div>
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"Cuantos nacieron de Gea y Urano, los más terribles de los hijos, estaban irritados con su padre desde el comienzo, pues cada vez que iba a nacer uno de éstos, Urano los ocultaba en el seno de Gea, sin dejarlos salir y se complacía en su mala acción. La monstruosa Gea en su interior se lamentaba oprimida y tramó una malvada artimaña. Tras haber creado al punto una especie de blanco acero, fabricó una gran hoz y explicó el plan a sus hijos. Les habló valerosa pero afligida en su corazón: "Hijos míos y de orgulloso padre. Si queréis obedecerme, vengaremos el malvado ultraje de vuestro padre, pues él fue el que empezó a maquinar obras indignas". Así dijo y, como es natural, de todos se apoderó el temor, de modo que ninguno se atrevió a contestar; pero el poderoso Crono, astuto, cobrando ánimo, al punto respondió a su respetable madre: "Madre, te prometo que puedo realizar este trabajo, puesto que no siento preocupación alguna por nuestro odioso padre, ya que fue el primero en maquinar obras indignas". De este modo se expresó y la monstruosa Gea mucho se alegró en su mente. Tras ocultarlo, lo colocó para la emboscada; puso en su mano una hoz de agudos dientes y le enseñó todo el engaño. Vino el poderoso Urano trayendo la noche y deseoso de amor se echó sobre Gea y se extendió por todas las partes. Su hijo desde la emboscada lo alcanzó con la mano izquierda, a la vez que con la derecha tomó la monstruosa hoz, larga, de agudos dientes, y a toda prisa segó los genitales de su padre y los arrojó hacia atrás... En cuanto a los genitales, desde el preciso instante en que los cercenó con el acero y los arrojó lejos del continente en el tempestuoso ponto , fueron luego llevados por el piélago (mar) durante mucho tiempo. A su alrededor surgía del miembro inmortal una blanca espuma y en medio de ella nació una muchacha. Primeramente navegó hacia la divina Citerea; luego, desde allí, se fue a Chipre, rodeada de corrientes. Salió del mar la respetable bella diosa y bajo sus delicados pies a ambos lados la hierba crecía. Afrodita, diosa nacida de la espuma, y Citerea, ceñida de bella corona, suelen llamarla tanto dioses como hombres, porque en medio de la espuma se formó, pero también Citerea, porque a Citerea se dirigió. Ciprogénea, porque nació en Chipre de muchas olas, y Filomena, porque nació de los genitales. La acompañó Eros y la siguió el bello Hímero al principio cuando nació, y luego en su marcha hacia la tribu de los dioses. Y estas atribuciones posee desde el comienzo y ha recibido como lote entre los hombres y dioses inmortales: las intimidades con doncellas, las sonrisas, los engaños, el dulce placer, el amor y la dulzura".<br />
<i>Hesíodo</i>, Teogonía.</div>
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"Cantaré a la de áurea corona, veneranda y hermosa Afrodita, a quien se adjudicaron las ciudadelas todas de la marítima Chipre, adonde el fuerte y húmedo soplo del Céfiro la llevó por las olas del estruendoso mar entre blanda espuma; las Horas, de vendas de oro, recibiéronla alegremente y la cubrieron con divinales vestiduras, pusieron sobre su cabeza inmortal una bella y bien trabajada corona de oro y en sus agujereados lóbulos flores de oricalco y de oro precioso, y adornaron su tierno cuello y su blanco pecho con los collares de oro con que se adornan las mismas Horas, de vendas de oro, cuando en la morada de su padre se juntan al coro encantador de las deidades. Mas, así que hubieron colocado todos estos adornos alrededor de su cuerpo, lleváronla a los inmortales: éstos, al verla, la saludaron, le tendieron las manos, y todos deseaban llevarla a su casa para que fuera su legítima esposa, admirados de la belleza de Citerea, de corona de violetas. Salve, diosa de arqueadas cejas, dulce como la miel; concédeme que alcance la victoria en este certamen y da gracia a mi canto. Y yo me acordaré de ti y de otro canto".<br />
Himno homérico a Afrodita.</div>
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Oricalco: metal legendario; el segundo más valioso.</div>
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Ponto: nombre dado en la antigüedad a la región al noreste de Asia Menor, actual Turquía.</div>
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Piélago: mar abierto."<br />
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<span style="font-size: x-large;">Fuente de los textos <a href="http://apuntes.santanderlasalle.es/arte/renacimiento/pintura/xv/botticelli_nacimiento_venus.htm">aquí</a>.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Filosofía</b></span></div>
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<span style="font-size: x-large;">Lectura, debate y comentario sobre textos de los filósofos neoplatónicos de la Florencia <i>quattrocentista</i> como Marsilio Ficino o Pico della Mirándola:</span></div>
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"Hay, entonces, dos Venus en el alma: la primera, Celeste, la segunda, Vulgar. Ambas tienen un amor. La Celeste para conocer la Belleza divina, la Vulgar para generarla en la materia del mundo. Pues tal como aquélla ve aquel decoro, ésta lo quiere dar a la máquina del mundo en la medida de sus fuerzas. Es más, tanto una como otra son llevadas a generar belleza, pero cada una a su modo. La Celeste se esfuerza en pintar en sí con su inteligencia de manera muy exacta la belleza de las cosas superiores. La Vulgar, gracias a la fecundidad de las semillas divinas, se esfuerza en que se manifieste en la materia mundana la Belleza divina, concebida en sí por voluntad divina."</div>
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Marsilio Ficino, <i>De Amore</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
"He leído en los antiguos escritos de los árabes, padres venerados, que Abdala el Sarraceno, interrogado acerca de cuál era a sus ojos el espectáculo más maravilloso en esta escena del mundo, había respondido que nada veía más espléndido que el hombre. Con esta afirmación coincide aquella famosa de Hermes: "Gran milagro, oh Asclepio, es el hombre". (...)</div>
<br />
Giovanni Pico della Mirandola, <i>Discurso sobre la Dignidad del Hombre.</i><br />
<br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large; text-align: justify;"><b>Fuentes de las imágenes</b></span><br />
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Google Images, Google Art Project, Getti Images y Wikimedia.</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b><br /></b></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>PARA SABER MÁS</b></span><br />
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Un completo análisis de esta obra se puede ver en el fantástico <a href="http://algargosarte.blogspot.com.es/2014/11/el-nacimiento-de-venus-de-botticelli.html">blog de Algargos.</a> </span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;"><span style="font-size: x-large;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*Sobre las proporciones áureas de esta obra véase este</span><a href="https://euclides59.files.wordpress.com/2012/03/sandro-botticelli-uffizi-google-project_tl5ima20110201_0013_4.jpg" style="font-family: arial, helvetica, sans-serif;"> enlace</a><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></div>
<br />
<br />
<div style="text-align: justify;">
<span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;"><span style="font-size: x-large;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*Sobre la exposición "Botticelli reimagine", véase el magnífico </span><a href="https://barbararosillo.com/2016/03/21/boticelli-reimaginado/" style="font-family: arial, helvetica, sans-serif;">blog de Bárbara Rosillo</a><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></div>
<br />
<br />
<div style="text-align: justify;">
<span style="font-family: "\22 arial\22 " , "\22 helvetica\22 " , sans-serif;"><span style="font-size: x-large;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*Sobre la interpretación hermética-cabalística de la obra véase este </span><a href="https://www.um.es/tonosdigital/znum15/secciones/estudios-19-Venus%20hermetica.htm" style="font-family: arial, helvetica, sans-serif;">enlace</a><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></div>
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<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b>Videos</b></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b><br /></b></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Espléndido video sobre "El nacimiento de Venus" (CED)</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/l9ZIJOX0Jjo" width="560"></iframe></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Video de Artehistoria sobre esta obra.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/plxUQ659Mp0" width="420"></iframe></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Sobre la exposición "Botticelli reimagined" en el museo V & A (I y II)</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0f1ugtAJehc" width="560"></iframe></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IL0Y9ypoWWw" width="560"></iframe></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Sobre la técnica al temple.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LHtJNeiksU8" width="420"></iframe></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">So</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">bre la técnica al óleo (I)</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1fxb8cZgrqY" width="420"></iframe></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">*Sobre la técnica al óleo (II)</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0GmWJBUqQm8" width="420"></iframe></span></div>
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com3tag:blogger.com,1999:blog-8265587279902146571.post-28978776254916076472022-03-04T09:47:00.000+01:002022-03-04T09:47:06.671+01:00LA HEGEMONÍA DEL TRAJE ESPAÑOL EN EL RENACIMIENTO<!--[if gte mso 9]><xml>
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<b><span lang="ES-TRAD" style="font-family: "candara";"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3JrvxXIgfvfnaJqgNXgSuATv9UNwFWGVhB0pWbfvK1UIx1H-lSo_ElB5KecFlqs8N63jE5awM-_Ojb5nA9eLW33pZRH2btiUPX9t1z51ztSnIxMV0mT0JDnvuQTF8mKI8Zf_ApDWD6Wtj/s1600/ANGUISSOLA_Sofonisba_Alessandro-Farnese_Dux-Parma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3JrvxXIgfvfnaJqgNXgSuATv9UNwFWGVhB0pWbfvK1UIx1H-lSo_ElB5KecFlqs8N63jE5awM-_Ojb5nA9eLW33pZRH2btiUPX9t1z51ztSnIxMV0mT0JDnvuQTF8mKI8Zf_ApDWD6Wtj/s1600/ANGUISSOLA_Sofonisba_Alessandro-Farnese_Dux-Parma.jpg" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Retrato de Alejandro Farnesio por Sofonisba Anguissola, c. 1545. National Gallery de Dublin. Lleva un lujoso tudesco brocado forrado con piel de armiño, el súmmum de la elegancia </span></td></tr>
</tbody></table>
<b><span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></b>
<b><span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">ANÁLISIS
DE TEXTOS SOBRE INDUMENTARIA: LA HEGEMONÍA DEL TRAJE ESPAÑOL EN EL RENACIMIENTO
Extracto de “El traje en España, un rápido recorrido a lo largo de la historia”
por Enriqueta Albizua Huarte, Ed. Arte Cátedra, 2012</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><br /></span></div>
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<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">“El siglo XVI, con la
instauración de las grandes monarquías, ve consolidarse un traje de marcado
carácter nacional (…). Cada país desarrolla un modo de vestir propio y hay
conciencia de ello. La hay en nuestra península, que en el siglo precedente
había creado prendas propias en el traje femenino –de difusión más allá de
nuestras fronteras- y que ahora, con los reinados de Carlos V y Felipe II iba a
imponer su moda a Europa.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A principos de siglo
el traje español mezclaba notas nacionales con influencias extranjeras, debidas
sobre todo a los dobles matrimonios de los hijos de los Reyes Católicos, Juana
y Juan , con Felipe y Margarita de Austria.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Felipe el Hermoso
había introducido en España los esplendores de la corte de Borgoña, así como
detalles de la indumentaria de Flandes que se intensificaron con la llegada a
España de Carlos V. El emperador traería también consigo las modas alemanas,
que triunfaban entonces por toda Europa y que aquí se hacían sentir sobre todo
en el traje masculino: en las <i>braguetas
prominentes</i>, las <i>cuchilladas</i>,
cierto tipo de gorras y una capa llamada <i>el
tudesco. </i>Italia también hace patente su influencia en el cabello corto de
los hombres, algunas gorras y los escotes de los trajes femeninos. Sin embargo,
la severa etiqueta de la casa de Austria, su contención en las formas, daría un
aire homogenéo y fundía estas diversidades.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">España gozaba de un
gran prestigio en Europa desde finales del siglo XV tras el descubrimiento de
América –que proporcióno una inmensa afluencias de metales preciosos, fuente de
lujo para las costumbres y el vestir- la expulsión de los árabes y la
unificación nacional. </span><br />
<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">La subida al trono de Carlos V suponía la concentración
en su persona del más vasto y poderoso imperio de Occidente; se reunían en sus
manos los dominios de Habsburgo y de los Reinos de Castilla y Aragón. Además a
partir de 1519 se efectuaba la conquista de Méjico, seguida de la de América
Central y del Norte y por otro lado, su matrimonio con Isabel de Portugal y el
de su hermana con el rey Juan III aportaban a tan dilatados dominios la corona
de Portugal, Brasil y el imperio colonial de las Indias; era el imperio en el
que como se diría en tiempos de su hijo Felipe II, “nunca se ponía el sol”. </span><br />
<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Esta supremacía territorial lo fue también política y tuvo su espaldarazo militar
en 1525 cuando el emperador derrotaba al monarca galo Francisco I, en la
Batalla de Pavía. A partir de este momento la hegemonía española en el panorama
internacional trasciende al campo de la moda y el traje hispano se va a
identificar de tal manera con su poderío y prestigio que, a mediados de siglo,
vestir “a la española” suponía la suprema distinción.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">El carácter dominante del traje español es su sobriedad, su austera elegancia –algo así como un
espíritu de “lujo rígido”- su color es el negro, cuya moda se extiende a
Italia, Francia e Inglaterra. A este respecto, Baltasar di Castiglione, que
había visitado España en 1525 en calidad de nuncio papal, opinaba en su obra
“El Cortesano” –publicada en 1528 y libro de cabecera para todo aquel que
quisiera ser un perfecto caballero conforme a los ideales de la época – que el
negro (convertido en el símbolo de la monarquía española) proporcionaba más
atractivo que cualquier otro color a las prendas de vestir y que en su defecto
se debía utilizar, como mínimo, un color oscuro. La suya era una apología del
traje español al que convertía en adalid de la moda al decir “yo quisiera que
el traje atestiguase esta seriedad que conserva tan extraordinariamente la
nación española”.<o:p></o:p></span></div>
<span lang="ES-TRAD" style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Con la hegemonía del traje español
–cuya gravedad no va reñida con el lujo- asistimos a una estilización de las
líneas del cuerpo, a su reducción a formas rectas y geométricas tanto en el
traje masculino como en el femenino. (…)</span><!--EndFragment-->
Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com1tag:blogger.com,1999:blog-8265587279902146571.post-69956589778307381982022-02-08T07:52:00.000+01:002022-02-08T07:52:47.307+01:00TAMARA DE LEMPICKA, ICONO DEL ART DÉCO (DEL TEMA 6. FUNDAMENTOS DEL ARTE II)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6QUpaslqF_U5ygpRwbNkj_2rASzfcIQ9H6QjJNKWZ_vmsDy-oDJYicbTGYxGinZplwG2rhrRXWAK527-IbaLzV6NdNcuhsCbwJBx4w-vJivHOBlO4FyHZGT2lwKBKZz8mZ5VPeIptqA/s1600/tami.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6QUpaslqF_U5ygpRwbNkj_2rASzfcIQ9H6QjJNKWZ_vmsDy-oDJYicbTGYxGinZplwG2rhrRXWAK527-IbaLzV6NdNcuhsCbwJBx4w-vJivHOBlO4FyHZGT2lwKBKZz8mZ5VPeIptqA/s640/tami.jpg" width="480" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83fE62u5okvvUuKPblkfgjiiiJMHXDMx4yXa_KvEAL4Jx8O4Sehb6e-CLr3qXTUfgM0w4JVM7IfLJN6lX_q_xUDxqM_tTE-eyd_nX6ziTLCD-76Kw7wtx6KKxHGR25kXyZcRpV6RQ0OI/s1600/DETALLE.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83fE62u5okvvUuKPblkfgjiiiJMHXDMx4yXa_KvEAL4Jx8O4Sehb6e-CLr3qXTUfgM0w4JVM7IfLJN6lX_q_xUDxqM_tTE-eyd_nX6ziTLCD-76Kw7wtx6KKxHGR25kXyZcRpV6RQ0OI/s400/DETALLE.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><i><br /></i></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;">A</span><span style="font-family: "arial" , "helvetica" , sans-serif;">utorretrato en Bugatti verde</span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">, Tamara de Lempicka, 1929, Colección privada. </span></span></span></td></tr>
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<span style="font-size: x-large;">¡Saludos!</span><br />
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<span style="font-size: x-large;">Si hay una pintora que podemos considerar como epítome del <i>Art Déco</i>, ésa es sin duda María Górska, más conocida como Tamara DE LEMPICKA. </span></div>
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<span style="font-size: x-large;">Transgresora, independiente y moderna, es la pintora del estilo <i>Art Déco</i> por antonomasia, un compendio del espíritu de esa época. </span></div>
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<span style="font-size: x-large;">Nació en el seno de una familia adinerada en Varsovia (Polonia) en 1898 que, a la sazón, era una ciudad perteneciente al Imperio ruso. Su padre abandonó a la familia cuando era pequeña y será criada por una abuela y su tía. Estudió en Suiza. Vivió en San Petersburgo (Rusia) y allí se casó muy joven con un abogado ruso, Tadeusz Lempicka, de quien tomaría el apellido. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_QtWAndAedSyatsBpP5ivTdKmGPWDla5PRTb0AqbqbT0rkAz2kb7MmrT3HSH6SgSv0BNSEj0jOL4_MbMYr7gpLQzO6lXyVBOzCkoqqGXyz7XlK1ZTH_heV2RfcdTD3sgOnybXJG8Cs0/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_QtWAndAedSyatsBpP5ivTdKmGPWDla5PRTb0AqbqbT0rkAz2kb7MmrT3HSH6SgSv0BNSEj0jOL4_MbMYr7gpLQzO6lXyVBOzCkoqqGXyz7XlK1ZTH_heV2RfcdTD3sgOnybXJG8Cs0/s640/1.jpg" width="468" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> Tamara de Lempicka posando a lo Greta Garbo, actriz con la que guarda un cierto parecido.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmiMgglVPM8kraukPrkQL_6CdAd-eZMO_E6bM_BqHZlspALnK__cJculVYLBXqTfdUggHZUDIM_FNaZbwJTmA-olJjNl_Tilmg2DM_iQx13uvJBvN48FHxOxFXCDGsat_w_1zXRfUZS4/s1600/1929_Tamara-with-fox-fur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmiMgglVPM8kraukPrkQL_6CdAd-eZMO_E6bM_BqHZlspALnK__cJculVYLBXqTfdUggHZUDIM_FNaZbwJTmA-olJjNl_Tilmg2DM_iQx13uvJBvN48FHxOxFXCDGsat_w_1zXRfUZS4/s640/1929_Tamara-with-fox-fur.jpg" width="440" /></a></div>
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<span style="font-size: large;">Tamara de Lempicka fotografiada en 1928. </span></div>
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<span style="text-align: start;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Desde niña sintió fascinación por el arte y el lujo. Le encantaban las joyas, particularmente las esmeraldas, los diamantes y los rubíes. Artista cosmopolita y viajera, vivió en Polonia, Rusia, Francia, Estados Unidos y Méjico. En Méjico pasó sus últimos años y allí murió en 1980.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Cuando estalló la revolución bolchevique en 1917 huyó con su marido a París donde viviría una vida mundana, de fiestas y excesos, pero donde también se convertiría en la retratista de las celebridades de la época. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">En 1926 se divorció de su primer marido. Viajó en numerosas ocasiones a Italia y allí fue amiga del decadente esteta italiano, el escritor Gabriele D´Annunzio. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">A pesar de su aparente vida glamurosa, sufrió intensas depresiones que no le daban tregua.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDTpb29SG8z7GDnBBzpmRVlaVcP-yBJCQ5vO_JBJUj6lPEcWVyRwraH0L_-o1lY2-TTxY-gzrppLwyfzj17Qs7B0rY4RKZVWyktgtVoBR4a0O__jlO_eNC9vMfIpA_31mVHZrBVvO5w8s/s1600/mono.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDTpb29SG8z7GDnBBzpmRVlaVcP-yBJCQ5vO_JBJUj6lPEcWVyRwraH0L_-o1lY2-TTxY-gzrppLwyfzj17Qs7B0rY4RKZVWyktgtVoBR4a0O__jlO_eNC9vMfIpA_31mVHZrBVvO5w8s/s640/mono.jpg" width="468" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Lempicka fotografiada pintando a su marido, c. 1930. Foto: Therese Bonney / AKG-IMAGES / East News. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHskp01N4DcQWvqVMPC7ilj7eirkD1SWmBNZZdzW6RHN0zLSTIzYkoDXkKtmp3-viZiI-IHBkNF2pSDz-J8tDliugKP3n4aLKZ_xuHrMFiCpkDDOjluElIbZQIt0ophyphenhyphen7WBklwVHsuX88/s1600/tami.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHskp01N4DcQWvqVMPC7ilj7eirkD1SWmBNZZdzW6RHN0zLSTIzYkoDXkKtmp3-viZiI-IHBkNF2pSDz-J8tDliugKP3n4aLKZ_xuHrMFiCpkDDOjluElIbZQIt0ophyphenhyphen7WBklwVHsuX88/s640/tami.jpg" width="478" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"> A Tamara de Lempicka le encantaba el lujo y las joyas y posaba en las fotos como una estrella de cine.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgZzsZt-PQzUSH_ZywSC21BhJm4uWJPXp1prIK1AGNEPmuJNDEr-y9O-N7CycZGTNODJlrFUkFVR7MJTPUL01RegtbsLXZ8pgjur_c-Yz48BYlYAH4sZXTExxjUxzyQowm-j6WhBwV0U/s1600/casa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgZzsZt-PQzUSH_ZywSC21BhJm4uWJPXp1prIK1AGNEPmuJNDEr-y9O-N7CycZGTNODJlrFUkFVR7MJTPUL01RegtbsLXZ8pgjur_c-Yz48BYlYAH4sZXTExxjUxzyQowm-j6WhBwV0U/s640/casa.jpg" width="640" /></a></div>
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<span style="font-size: large;"> </span><span style="font-size: large;">Casa déco de Tamara de Lempicka en París, en la calle Guy de Maupassant.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Estudio de Tamara de Lempicka en la calle Mechain de París. </span><span style="font-size: large;">Copyright of image by Studio Piaz</span></span></div>
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<span style="font-size: x-large;">Esta fascinante artista, que tuvo una vida de película, fue adorada y despreciada a partes iguales, pues para algunos vanguardistas “bienpensantes” representaba el paradigma de lo kitsch o un personaje esteticista de otra época. Recordemos que la vanguardia “seria” consideraba que el Déco era una reminiscencia del arte del siglo XIX, como algo anticuado aunque, en verdad, fuera todo lo contrario. Ella y su arte eran considerados como la esencia de la frivolidad. Su pasión por la belleza y el lujo no casaban con los artistas de vanguardia comme il faut. Aunque no la faltó trabajo como retratista de las elites aristocráticas, en el mundo del arte siempre fue una especie de <i>outsider</i>, no siendo aceptada en general, ni por su colegas pintores ni por los críticos de arte.</span><br />
<span style="font-size: x-large;">Su objetivo como pintora no era copiar la realidad sino crear un nuevo estilo, brillante y de colores luminosos donde predominara la elegancia de las figuras representadas. Y es que Lempicka se especializó en retratos de mujeres déco, con fondos arquitectónicos de rascacielos de ese estilo, muy abundantes en sus cuadros. </span><br />
<span style="font-size: x-large;">En sus obras retrata el nuevo paradigma de la mujer de los años 20 y 30, mujeres que pretenden ser emancipadas, que fuman, conducen su propio coche, adoptan una indumentaria un tanto andrógina, con cabello <i>bob</i> o a <i>lo garçon</i>, hacen deporte, viajan y disfrutan de la vida... </span><br />
<span style="font-size: x-large;">Muchos retratos de líneas netas y pulidas son desnudos y en ocasiones, muestra abiertamente escenas de homosexualidad femenina. </span><br />
<span style="font-size: x-large;">Los cuerpos que pinta suelen ser muy escultóricos, con formas rotundas, como si fueran estatuas clásicas pero sin estar basadas en las proporciones perfectas del canon griego. </span><br />
<span style="font-size: x-large;">Las miradas de los retratados suelen ser melancólicas, tristes o pensativas. Consideraba que se autorretrataba en todas sus obras.</span><br />
<span style="font-size: x-large;">Sus referentes estéticos son muy variados: oscilan entre la pintura italiana del Renacimiento –en especial adoraba la obra de Bronzino-, las conexiones con las odaliscas rotundas del neoclásico francés Jean-Auguste-Dominique INGRES –deliberadas o no-, y sobre todo el influjo del Cubismo.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><i><br /><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">Gertrude Stein</span></i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">, la célebre escritora y coleccionista de arte y estadounidense retratada por PICASSO en 1906. Museo MET de Nueva York. Fuente de la imagen: MET</span></span><br />
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<span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Madre e hijo</i> representadas por PICASSO en 1921. Fuente de la imagen:</span></span><br />
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<span style="font-size: x-large;">Las líneas depuradas, facetadas y geométricas que dominan su obra también nos remiten a PICASSO, y no solo al cubista, sino también al más “clásico” de la “vuelta al orden” de los años 20. </span><br />
<span style="font-size: x-large;">Entre sus profesores en París destacan André Derain y el neocubista André LOTHE (1885-1962). Sin duda Lothe es el que más profundamente marcó su obra pictórica y de él asimiló un cubismo “blando”. Según Alain Blondel, Lempicka consiguió un proceso de síntesis sorprendente y único en sus obras entre el arte renacentista y el neocubista. </span><br />
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<span style="font-size: x-large;">Asimismo, hay ciertas concomitancias entre Lempicka con el realismo mágico y los pintores alemanes de la Nueva Objetividad, en particular con Christian SCHAD. Los retratos de Schad como el del aristócrata Graf St-Genois d'Anneaucourt, epitomizan el glamour decadente de la época de la República de Weimar (1919-1933).</span><br />
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<span style="font-size: large;"><i style="text-align: center;">María y Annunziata "del puerto"</i><span style="text-align: center;">,</span><b style="text-align: center;"> </b><span style="text-align: center;">Christian SCHAD,</span><span style="text-align: center;"> 1923, Museo Thyssen, Madrid. Fuente de la imagen: Museo Thyssen.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i> </i> La estética del cuadro <i>Doble 47 de </i>Tamara de Lempicka, c.1924 nos recuerda en este caso al realismo soviético.</span><br />
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<span style="font-size: x-large;">Sus pinturas parecen imágenes de revistas de moda. Concede mucha importancia a la pose, la vestimenta, incluso el maquillaje. Incluso ella misma posaba como si fuera una estrella de cine, siempre sofisticada, siempre elegante y a la última. De hecho la llegaron a comparar con la mítica Greta Garbo con la que guardaba un cierto parecido.</span><br />
<span style="font-size: x-large;">Su etapa dorada como pintora coincide plenamente con el período déco, fundamentalmente en la década de los años 25 al 35. </span><br />
<span style="font-size: x-large;">Se casó dos veces –la segunda en 1934- y tuvo una hija, Kizette, a la que retrató con frecuencia en cuadros que están entre lo mejor de su producción. </span><br />
<span style="font-size: x-large;">En los años 40 se estableció en Estados Unidos con su segundo y millonario marido e inició allí una etapa abstracta intentando formar parte de la pintura americana con escaso éxito.</span><br />
<span style="font-size: x-large;">Las celebridades hollywoodenses adoran los cuadros de Tamara de Lempicka. Es frecuente que el estilo déco o neodéco decora muchas de sus mansiones. Por eso no es extraño que la actual y principal coleccionista de las obras de Lempicka sea Madonna y también, aunque en menor medida, el actor Jack Nicholson y la cantante Barbra Streisand. </span><br />
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<span style="font-size: x-large;">Entre sus pinturas podemos destacar: </span><br />
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<span style="font-size: x-large;">*Su <i>Autorretrato en un Bugatti verde, </i>1929<i> (</i>es la imagen del inicio de este artículo<i>)</i> es su cuadro posiblemente más conocido. En ella se representa como una mujer moderna y distinguida, llevando guantes y un sombrero muy ajustado tipo <i>cloche</i>. Aparece conduciendo un coche deportivo Bugatti–que nunca tuvo- sugiriendo la idea de velocidad y las máquinas, temas que fascinaban a los artistas de vanguardia, en especial a los vinculados con el futurismo italiano. Capta, como en una fotografía, un momento exacto. Esta pintura fue un encargo para la portada de una publicación alemana llamada <i>Die Dame</i> especializada en promover la imagen de una mujer moderna. Por eso es una obra que está a caballo entre las bellas artes y el diseño gráfico y de moda. El maquillaje también es muy déco.</span><br />
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<span style="font-size: x-large;">*La <i>Duquesa de la Salle</i> (1925) es un retrato maravilloso que muestra a una mujer andrógina, que viste un <i>tuxedo</i> de corte masculino. Las referencias arquitectónicas no faltan en el fondo del cuadro.</span><br />
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<span style="font-size: large;"><i> La Duquesa de la Salle</i>, Tamara de Lempicka, 1925.</span></div>
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<span style="font-size: large;"><i> Retrato del Conde de Afflito</i>, Tamara de Lempicka, 1925.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i> Dos mujeres con sombrero cloche</i>. Tamara de Lempicka, 1925. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Kizette en el balcón</i>, 1927. </span><br />
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<span style="font-size: x-large;">*En <i>La bella Rafaela</i>, de 1927, se han observado reminiscencias del tenebrismo de Caravaggio con su énfasis en el juego entre luces y sombras. Pero en esta obra el foco se ha centrado en el cuerpo escultural de la mujer representada.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>La bella Rafaella</i>, 1927.</span><br />
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<span style="font-size: x-large;">*El más ávido coleccionista de las obras de Tamara de Lempicka fue el <i>doctor Boucard</i> al que retrató con apariencia de espía de película en 1929. De hecho, durante la Segunda Guerra Mundial tangencialmente se vió envuelto en actividades de espionaje. Su yate fue utilizado por la Resistencia francesa para transportar municiones y andando el tiempo lo adquirió el magnate griego Aristóteles Onasis. En este cuadro, el famoso baceteriólogo aparece con los simbólicos tubo de ensayo y microscopio para que no nos quede duda de su filiación laboral. Como ganó mucho dinero con sus investigaciones médicas pudo adquirir retratos de Lempicka. Este retrato nos transmite una imagen muy glamurosa del doctor, muy lejana al trabajo real de un científico. Esta pintora también retrató a la esposa e hija de Boucard.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Retrato del doctor Boucard</i>, 1928.</span><br />
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<span style="font-size: x-large;"><i>*La música</i> (1929) es una bella alegoría sobre este arte. Es representada como una elegante mujer de pelo oscuro, absorbida en su interpretación musical. Recordemos que las referencias a la música fueron muy habituales en la pintura cubista de inicios del siglo XX.</span></div>
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<span style="font-size: large;"><i>La música</i>, Tamara de Lempicka, 1929</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQiJ6PVIpL7a_rzvdqbMLDpVQoDjuk-kjUMpmXtXmMhdiTWt0kavw8yWoXVldGOHDGQuO2tmCFOxS-UvbspANY94LMNkhSHWwGzR6C65Cim3MmQBBjbxn_C7BGjmx9KbNe-rvi-jB8jU/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnQiJ6PVIpL7a_rzvdqbMLDpVQoDjuk-kjUMpmXtXmMhdiTWt0kavw8yWoXVldGOHDGQuO2tmCFOxS-UvbspANY94LMNkhSHWwGzR6C65Cim3MmQBBjbxn_C7BGjmx9KbNe-rvi-jB8jU/s640/6.jpg" width="430" /></a></div>
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<span style="font-size: large;"><i style="font-family: arial, helvetica, sans-serif;">St. Moritz,</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> Tamara de Lempicka, 1929. </span></span></div>
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<span style="font-size: large;"><i>Rascacielos</i>, Tamara de Lempicka, c. 1929. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyIVx0HGFLCnHAF6ht0vR8niR9Ll_Y48xww3YgeZxkTl6tkYjFg6nzUfEKVrWyFmGazNiWmpantXgqlJp2nIgYGiu5CVB_2qlU8x-NLDHpnXFVH2Kt_cA8F73Rl7yc6XKq117-GSxoa8/s1600/1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyIVx0HGFLCnHAF6ht0vR8niR9Ll_Y48xww3YgeZxkTl6tkYjFg6nzUfEKVrWyFmGazNiWmpantXgqlJp2nIgYGiu5CVB_2qlU8x-NLDHpnXFVH2Kt_cA8F73Rl7yc6XKq117-GSxoa8/s640/1930.jpg" width="380" /></a></div>
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<span style="font-size: large;">Retrato de<i> Mrs. Allan Bott</i>, Tamara de Lempicka 1930. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jK-kRDG71cngyg2zO_X4TFaBfVTCT7HrWCQ7Fky9JR4Viu8E1VKakbo0Oe44U4qxHwqE4ks91L0cKNqw8fycPF85D-tCj8joOxLY2Zqx5sJyG4Yb5dpqWNRZWAWFAKPcOuKwwqIc7Fc/s1600/1930.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jK-kRDG71cngyg2zO_X4TFaBfVTCT7HrWCQ7Fky9JR4Viu8E1VKakbo0Oe44U4qxHwqE4ks91L0cKNqw8fycPF85D-tCj8joOxLY2Zqx5sJyG4Yb5dpqWNRZWAWFAKPcOuKwwqIc7Fc/s640/1930.jpg" width="484" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Joven con guantes,</i> Tamara de Lempicka, 1930.</span></div>
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<span style="font-size: x-large;"><span style="font-size: x-small;">Fuente de las imágenes de los cuadros de Tamara de Lempicka de este artículo: </span>http://www.delempicka.org</span><br />
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<span style="font-size: x-large;"><b>Más información en</b>:</span></div>
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<span style="font-size: x-large;">La web oficial y completísima sobre <a href="http://www.delempicka.org/">Tamara de Lempicka</a> y en la web<a href="http://www.theartstory.org/artist-de-lempicka-tamara-artworks.htm#pnt_2"> theartstory.</a></span></div>
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Ana Galván Romarate-Zabalahttp://www.blogger.com/profile/00683574575155033891noreply@blogger.com0