{"id":114950,"date":"2013-05-12T00:00:00","date_gmt":"2013-05-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/arte-y-contrarreforma-en-la-diocesis-de-orihuela-1564-1767\/"},"modified":"2013-05-12T00:00:00","modified_gmt":"2013-05-12T00:00:00","slug":"arte-y-contrarreforma-en-la-diocesis-de-orihuela-1564-1767","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-regional\/arte-y-contrarreforma-en-la-diocesis-de-orihuela-1564-1767\/","title":{"rendered":"Arte y contrarreforma en la di\u00f3cesis de orihuela (1564-1767)."},"content":{"rendered":"

Tesis doctoral de Alejandro Ca\u00f1estro Donoso <\/strong><\/h2>\n

T\u00edtulo: arte y contrarreforma en la antigua di\u00f3cesis de orihuela (1564-1767) doctorando: alejandro ca\u00f1estro donoso el fen\u00f3meno de la contrarreforma es un tema que viene interesando a los estudios e investigaciones del departamento de historia del arte de la universidad de murcia desde hace unos a\u00f1os, con particular reflejo en las artes decorativas aunque tambi\u00e9n se han visto en otras manifestaciones art\u00edsticas, como los m\u00e1rmoles, y el muy importante cap\u00edtulo del patrocinio art\u00edstico. Fue precisamente en este contexto en el que surgi\u00f3 la idea de ver la posibilidad del concreto impacto de la contrarreforma en el territorio de una di\u00f3cesis, la de orihuela, casi coincidente con la actual provincia de alicante. uno de los motivos que propici\u00f3 especialmente la decisi\u00f3n de iniciar esta tesis doctoral fue el hecho de que la implantaci\u00f3n y el desarrollo de la contrarreforma en el \u00e1mbito alicantino estaban reclamando un estudio y profundizar en \u00e9l pero desde una perspectiva no s\u00f3lo art\u00edstica sino interdisciplinar, preferentemente como un hecho cultural. Por tanto, esta tesis se enmarca dentro de una lectura del fen\u00f3meno art\u00edstico enraizada en los contextos hist\u00f3ricos, sociales y religiosos y con un enfoque transversal al tocar todas las artes, pues no s\u00f3lo se aborda la arquitectura propia de la contrarreforma sino que adem\u00e1s se estudian mobiliario y ajuares y, sobre todo, los contenidos devocionales que completan ese panorama. En realidad, se hac\u00eda necesario calibrar hasta qu\u00e9 punto la contrarreforma y sus programas tuvieron una repercusi\u00f3n en el arte, que en esos momentos se convierte en un instrumento muy eficaz para mostrar la renovaci\u00f3n religiosa propiciada desde el concilio de trento. Pero, como era de esperar, la adopci\u00f3n de los valores contrarreformistas no ser\u00e1 un hecho aislado en la di\u00f3cesis de orihuela sino que obedece a un fen\u00f3meno muy importante en espa\u00f1a seg\u00fan han sabido ver numerosos historiadores del arte. objetivos podr\u00edan enunciarse los siguientes objetivos espec\u00edficos de esta tesis doctoral: – estudiar el comportamiento de la di\u00f3cesis de orihuela desde el momento de su fundaci\u00f3n (1564) hasta la llegada del primer obispo ilustrado (1767, don jos\u00e9 tormo). – estudiar la historia de la implantaci\u00f3n de la contrarreforma en la di\u00f3cesis de orihuela. – estudiar los inicios de la di\u00f3cesis como consecuencia del concilio de trento. – estudiar los diferentes s\u00ednodos diocesanos (siglos xvi a xviii). – estudiar el valor de los obispos y el clero y su papel en el patrocinio art\u00edstico. – estudiar el valor del escenario: la adaptaci\u00f3n de viejos templos, la renovaci\u00f3n y la nueva imagen (obras arquitect\u00f3nicas, retablos, templetes, camarines,\u00c2\u00bf), construcci\u00f3n de nuevas iglesias como referentes contrarreformistas (los ejemplos: catedral de orihuela, colegiata de san nicol\u00e1s de alicante, la iglesia de santa mar\u00eda de elche, parroquias, conventos, ermitas,\u00c2\u00bf). – estudiar el valor del ajuar: o la dignificaci\u00f3n del culto. o los tesoros. La plater\u00eda. o los textiles. – estudiar las ceremonias y los contenidos de los templos: o las festividades eucar\u00edsticas. El corpus christi y el culto a la eucarist\u00eda. o el auge de la devoci\u00f3n a los santos y a la virgen. o las solemnidades: semana santa y otras grandes fiestas. metodolog\u00eda la metodolog\u00eda que se ha seguido para la realizaci\u00f3n de este trabajo ha sido el vaciado de archivos municipales y eclesi\u00e1sticos, la visita a las diferentes iglesias y conventos objeto de estudio, toma de fotograf\u00edas y consulta de bibliograf\u00eda espec\u00edfica. por tanto, al obligado trabajo de campo debe sumarse la tarea de estudio, reflexi\u00f3n, an\u00e1lisis y sistematizaci\u00f3n de toda la informaci\u00f3n recabada, apoyada convenientemente en las aportaciones que existen sobre determinados temas o aspectos. conclusiones la principal aportaci\u00f3n de este trabajo es el estudio y la sistematizaci\u00f3n del fen\u00f3meno de la contrarreforma en la di\u00f3cesis de orihuela y su repercusi\u00f3n en el arte en el periodo comprendido desde 1564, a\u00f1o en que nace la di\u00f3cesis a consecuencia de la disgregaci\u00f3n de la de cartagena, y prolong\u00e1ndose hasta los mediados del siglo xviii, ya que en la primera mitad de dicha centuria se conoce una revitalizaci\u00f3n y un \u00e9nfasis de ese fen\u00f3meno como si se tratara de una contrarreforma retardada que adquiere en estas tierras una particular pujanza. En definitiva, se corresponde con un prolongado periodo de tiempo, que l\u00f3gicamente atravesar\u00e1 diversas etapas. Destacando por su importancia una primera fase entre 1600 y 1630, que resulta muy significativa por corresponder con la \u00e9poca de construcci\u00f3n de grandes templos, entre ellos la colegiata de san nicol\u00e1s de alicante y algunos templos parroquiales y conventuales, que suponen la verdadera implantaci\u00f3n de programas y modelos contrarreformistas. La segunda fase va desde 1675 a 1700, que prosigue con las construcciones iniciadas en la fase anterior, incluso se principian algunas como santa mar\u00eda de elche, pero fundamentalmente es \u00e9poca de amueblamiento de los recintos sagrados y de protagonismo de lo ornamental, todo ello como un exaltado aparato que represent\u00f3 un primer apogeo barroco seg\u00fan conven\u00eda a la evoluci\u00f3n del desarrollo de la contrarreforma, cada vez m\u00e1s propicio a la espectacularidad como recurso de exaltaci\u00f3n religiosa. Todo este alarde de aparato llegar\u00e1 a su cumbre en la tercera fase, que ya denota esa contrarreforma retardada dentro del siglo xviii, cuya cronolog\u00eda se centra sobre 1720-40. el trabajo se ha estructurado en base a tres grandes bloques (el desarrollo y la implantaci\u00f3n de la contrarreforma; el templo; los programas) que en s\u00ed representan distintas perspectivas, contemplando transversalmente un fen\u00f3meno cultural y religioso y sus consecuencias art\u00edsticas, con lo que se ha pretendido dar un enfoque de conjunto y multidisciplinar que revele la amplitud del mismo y sus diversos aspectos. Con ello se ha alcanzado una novedosa visi\u00f3n, que incluso en algunos casos se aborda por primera vez, lo que refuerza el valor de la aportaci\u00f3n, aunque ya existe una bibliograf\u00eda sobre determinados temas y cuestiones relacionados con este arte de la contrarreforma en tierras de alicante. summary title: art and counter-reformation in the ancient diocese of orihuela (1564-1767) phd student: alejandro ca\u00f1estro donoso the counter-reformation phenomenon is a topic that has concerned the studies and research made by the art history department of the university of murcia for several years. Although the investigations have mainly been focused on the decorative arts, they have also analysed different artistic expressions such as masterpieces made of marble as well as the important artistic patronage. The idea of analysing the possibilities of the impact of the counter-reformation in the territory of the diocese of orihuela was born in the context mentioned above. one of the reasons of starting this doctoral thesis was the fact that the establishment and its afterwards development of the counter-reformation in the province of alicante were demanding a deep analysis not only from an artistic perspective but also from an interdisciplinary one as a cultural event. Therefore, this thesis is set within the artistic phenomenon settled in the historical, social and religious context since we will analyse the architecture of the counter-reformation as well as its furniture, vestments and, above all, the devotional contents. The truth is that it was a priority to analyse how the counter-reformation and its programmes had an impact in the art, which in those days became an efficient tool to show the religious renewal fostered after the council of trent. However, as it was expected, the establishment of the counter-reformation values will not be a unique and isolated fact in the diocese of orihuela since, according to many art historians, it obeys to a remarkable phenomenon in spain. objectives the following specific aims of this doctoral thesis can be enumerated: – to study how the diocese of orihuela worked from its foundation (1564) until the arrival of its first enlightened bishop (1767, don jos\u00e9 tormo). – to study the history of the establishment of the counter-reformation in the diocese of orihuela – to study the beginning of the diocese as a consequence of the council of trent. – to study the different diocesan synods (from xvi to xviii centuries) – to study the importance of bishops and the clergy and their role in the artistic patronage. – to study the value of the scenery: the adaptation of ancient temples, the restoration and the new image (architectural works, altarpieces, shrines, lady chapels), the building of new churches as a counter-reformist model (the cathedral of orihuela, the college church of san nicol\u00e1s in alicante, the church of santa mar\u00eda in elche, parish churches, monasteries, chapels\u00c2\u00bf). – to study the role of collections: o the uplifting of worship. o the treasures. The silverwork. o the textiles. – to study the ceremonies and the contents of the temples: o the eucharistic festivities the corpus christi and the worship to the eucharist. o the growing devotion to the saints and the virgin o the formal ceremonies: holy week and other relevant festivities. methodology the methodology used in this doctoral thesis has mainly been based on the information obtained from ecclesiastical and local records, visiting the churches and convents involved in this study, analysis of shots and the specific bibliography consulted. Consequently, in addition to the fieldwork we cannot forget the study, reflection, analysis and systematization of the amount of information obtained which is conveniently supported by the contribution of certain topics and aspects. conclusions the main contribution of this thesis is the study and systematization of the socalled phenomenon counter-reformation in the diocese of orihuela and its widespread repercussions throughout art in the period between 1564 and halfway through the xviii century when a revitalization and an emphasis of the counter-reformation was known. in fact, we can say that an increased later counter-reformation took place in this territory. all in all, it corresponds to a long-lasting period that will logically have different stages. The first stage covers the period between 1600 and 1630 when many huge temples such as the college church of san nicol\u00e1s in alicante and some parochial and conventual temples. Those buildings meant the real establishment of counter- reformist programmes and models. The second stage spans from 1675 to 1700 in which the buildings started in the first stage are continued and even new ones are started such as santa mar\u00eda in elche. But apart from architecture, this period is remarkable for its use of furniture inside the holy buildings and the prominence of vestments. This tremendous ornamental display corresponds to the first baroque period in relation to the development of counter-reformation. This appeared together with the magnificence as a resource of the religious exaltation. All this display will reach the top in its third stage which takes place in the xviii century, more concretely, between 1720 and 1740. this work has been structured bearing in mind three sections: the development and the establishment of the counter-reformation, the temple and the contents. They represent different perspectives and they also show transversely a cultural and religious phenomenon together with its artistic consequences. This study tries to give an overview that reveals its wide range and its different aspects. With this study we have tried to give an original view that, even in some cases, are analysed for the first time; something that reinforces the value of this new view. Nevertheless, a bibliography about matters related to the counter-reformist art in alicante still exists.<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abArte y contrarreforma en la di\u00f3cesis de orihuela (1564-1767).<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 Arte y contrarreforma en la di\u00f3cesis de orihuela (1564-1767). <\/li>\n
  • Autor:<\/strong>\u00a0 Alejandro Ca\u00f1estro Donoso <\/li>\n
  • Universidad:<\/strong>\u00a0 Murcia<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 05\/12\/2013<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Jes\u00fas Francisco Rivas Carmona<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: german Ramallo asensio <\/li>\n
        • pedro Galera andreu (vocal)<\/li>\n
        • pedro Segado bravo (vocal)<\/li>\n
        • (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Alejandro Ca\u00f1estro Donoso T\u00edtulo: arte y contrarreforma en la antigua di\u00f3cesis de orihuela (1564-1767) doctorando: alejandro ca\u00f1estro […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[1745,1014,981,8235,17785],"tags":[227633,8187,69044,3974,145025],"class_list":["post-114950","post","type-post","status-publish","format-standard","hentry","category-historia-de-la-arquitectura","category-historia-del-arte","category-historia-regional","category-murcia","category-religion","tag-alejandro-canestro-donoso","tag-german-ramallo-asensio","tag-jesus-francisco-rivas-carmona","tag-pedro-galera-andreu","tag-pedro-segado-bravo"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/114950","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=114950"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/114950\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=114950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=114950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=114950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}