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Monteira Arias, Inés

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0000-0002-9610-4407
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Monteira Arias
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2019 - 201912020 - 20222
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Mostrando 1 - 3 de 3
  • Miniatura
    Publicación
    Artistic Interchange between Al-Andalus and the Iberian Christian Kingdoms: The Role of the Ivory Casket from Santo Domingo de Silos
    (MDPI, 2022-02-02) Monteira Arias, Inés
    The ivory casket made in Cuenca in A.D. 1026 and signed by Mohammad ibn Zayyan constitutes invaluable evidence for the study of artistic transfers between Al-Andalus and the Iberian Christian kingdoms. In the 12th century this piece was transformed in the monastery of Santo Domingo de Silos (Burgos) with the addition of Christian-themed enamels and reused as a reliquary. The appropriation of this object within the ideological context of the Christian expansion in the Iberian Peninsula allows us to reflect on the meaning given to it by the Silos monks. Moreover, a comparative study of the casket with Romanesque sculpture shows the existence of important iconographic influences of this piece in Christian art that have not been sufficiently studied until now. Its analysis offers clues about the way in which figurative motifs could be transmitted from Andalusi to Christian art and about the symbolic purposes with which they were used. This work highlights the need to study conjointly the transfer of artistic pieces and the transmission of figurative motifs from one context to another in addition to proposing a methodology for their study.
  • Miniatura
    Publicación
    La sordera doctrinal de judíos y musulmanes en el arte medieval*
    (Departamento de Historia del Arte, Universidad de Málaga, 2021-11-16) Monteira Arias, Inés::virtual::4469::600; Monteira Arias, Inés; Monteira Arias, Inés; Monteira Arias, Inés
    The depiction of Synagogue with a veil over its eyes referring to its spiritual blindness has been considered the most prototypical image of Judaism in medieval times. However, from the 11th century on we can find the representation of Jews covering their ears with their hands to show their refusal to listen to the Christian message. This idea is recurrent in theological literature and becomes a repeated visual resource in medieval art. The gesture of covering the ears is associated with both the image of Jews and Muslims, often as part of scenes in which Saint Stephen or a missionary monk preaches to the infidels. In this paper we follow up on this motif, which we find in French and Hispanic Romanesque art, in Italian Trecento and in 15th century Flemish painting, persisting into modern times. The association of this gesture with Jews and Muslims has frequently gone unnoticed by scholars and its analysis contributes to enlarging the knowledge of the depiction of religious otherness.
  • Miniatura
    Publicación
    Of Archers and Lions: The Capital of the Islamic Rider in the Cloister of Girona Cathedral
    (Brill, 2019-11-18) Monteira Arias, Inés
    In the south gallery of the cloister of the Cathedral of Santa María, Girona, we find one capital that is differentiated from the rest because of its formal as well as its iconographic characteristics. The four faces of capital no. 4 contain two repeated and two alternating motifs: the archer on horseback and the lion attacking a bull. Both the dress of these horsemen and their physical traits identify them as Muslim horsemen. This identification creates an interpretive context for the capital as a whole that also conditions the reading of the conquering lion. Both images will be examined within their constructive context in the light of events and legends that surrounded the cathedral of Girona in the twelfth century. Moreover, we will trace the origin of these motifs that have their parallels in ivories of the art of the caliphal and taifa periods as well as in Catalan Romanesque and Sicilian-Norman art. This overview will enable us to interpret the meaning and significance of the capital in its historical-artistic context and enrich our knowledge of the artistic transfers between Andalusian and Romanesque art.