{"id":129034,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/de-lo-visible-a-lo-legible-el-color-en-la-iconografia-cristiana-una-clave-para-el-restaurador\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"de-lo-visible-a-lo-legible-el-color-en-la-iconografia-cristiana-una-clave-para-el-restaurador","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/de-lo-visible-a-lo-legible-el-color-en-la-iconografia-cristiana-una-clave-para-el-restaurador\/","title":{"rendered":"De lo visible a lo legible. el color en la iconografia cristiana: una clave para el restaurador."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Alicia Sanchez Ortiz <\/strong><\/h2>\n<p>Los avances de la ciencia acaecidos en nuestro siglo han permitido acometer importantes analisis tecnicos del color en las obras de arte, aportando en el campo de la restauracion datos precisos sobre la tecnica y el modo de ejecucion de una pintura. Sin embargo, estas investigaciones centradas basicamente en la observacion y analisis de la obra han condenado al color a ser apreciado por su valor estetico, olvidando que tambien es un medio de comunicacion, el portador de un mensaje que clama por ser leido y comprendido. Imagenes que en otras epocas fueron leidas, hoy son solo visibles, se han vuelto enigmas indescifrables, esteticamente valoradas pero completamente mudas en sus significados.  considerando que el restaurador debe ser uno de los principales espectadores de la obra -si no el mas-, y puesto que un importante numero de esta tienen en nuestro patrimonio artistico un caracter eminentemente religioso, hemos decidido dedicar nuestro estudio al color en las imagenes de la historia cristiana. Nuestro principal objetivo ha sido adiestrar la mirada para, a traves de dicho elemento ser capaces de encontrar respuestas a interrogantes como ?Que funcion cumple el color en la imagen? ?Cual es su sentido? ?Esistio un codigo cromatico? Y, en caso de ser asi ?Que factor o factores determinaron su eleccion y aplicacion en la superficie pictorica?.  pretendemos demostrar en ultimo lugar, que los colores fueron en su epoca aventuras ideologicas. Hoy, nuestros ojos deben aprender de nuevo a mirarlos y a pensarlos, encontrando las claves que nos permitan \u00ableer\u00bb este tipo de pintura correctamente.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>De lo visible a lo legible. el color en la iconografia cristiana: una clave para el restaurador.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 De lo visible a lo legible. el color en la iconografia cristiana: una clave para el restaurador. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Alicia Sanchez Ortiz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Manuel Prieto Prieto<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Gonzalez Cuasante Jos\u00e9 Mar\u00eda <\/li>\n<li>Luis Badosa Comill (vocal)<\/li>\n<li>Consuelo Dalmau Moliner (vocal)<\/li>\n<li>Isabel Oliver Cuevas (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Alicia Sanchez Ortiz Los avances de la ciencia acaecidos en nuestro siglo han permitido acometer importantes analisis [&hellip;]<\/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":[1624,147,986,104,2073,3806,1111],"tags":[192283,22640,3847,36357,242406,23332],"class_list":["post-129034","post","type-post","status-publish","format-standard","hentry","category-ciencias-auxiliares-de-la-historia","category-ciencias-de-las-artes-y-las-letras","category-complutense-de-madrid","category-historia","category-iconografia","category-pintura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-alicia-sanchez-ortiz","tag-consuelo-dalmau-moliner","tag-gonzalez-cuasante-jose-maria","tag-isabel-oliver-cuevas","tag-luis-badosa-comill","tag-manuel-prieto-prieto"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/129034","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=129034"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/129034\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=129034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=129034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=129034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}