{"id":19647,"date":"2018-03-09T09:08:41","date_gmt":"2018-03-09T09:08:41","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-arte-popular-religioso-en-la-pintura-de-los-siglos-xvii-al-xix-en-el-oeste-fronterizo-zamorano-sanabria-aliste-y-sayago\/"},"modified":"2018-03-09T09:08:41","modified_gmt":"2018-03-09T09:08:41","slug":"el-arte-popular-religioso-en-la-pintura-de-los-siglos-xvii-al-xix-en-el-oeste-fronterizo-zamorano-sanabria-aliste-y-sayago","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/salamanca\/el-arte-popular-religioso-en-la-pintura-de-los-siglos-xvii-al-xix-en-el-oeste-fronterizo-zamorano-sanabria-aliste-y-sayago\/","title":{"rendered":"El arte popular religioso en la pintura de los siglos xvii al xix en el oeste fronterizo zamorano (sanabria, aliste y sayago)"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Nu\u00f1ez Lobo Pedro Antonio <\/strong><\/h2>\n<p>* el estudio del arte popular religioso en la pintura del oeste fronterizo zamorano plantea un campo de investigaci\u00f3nb novedoso y de inter\u00e9s para el conocimiento de la cultura popular (incluidos sus aspectos etnogr\u00e1ficos, tradiciones y ritos) de las comarcas de sanabria, aliste y sayago. Las manifestaciones pict\u00f3rica entendida desde sus aspectos t\u00e9cnicos, an\u00e1lisis de materiales, estil\u00edsticos, iconogr\u00e1ficos e iconol\u00f3gicos pueden indicar facetas muy relevantes sobre los artesanos y algunos art\u00edstas que explican el por qu\u00e9 de muchas tradiciones, leyendas y costumbres populares.  * por otro lado, escoger y seleccionar como objeto de investigaci\u00f3n tres comarcas con obvias analog\u00edas de raya fronteriza, tan pr\u00f3ximas y a la vez tan diferentes permite la elaboraci\u00f3n de un estudio comparativo de la pintura religiosa barroca de artistas que tocaban temas similares de formas radicalmente diferentes, resaltando adem\u00e1s la permanencia y prolongaci\u00f3n del barroco popular hasta engarzar con la pintura rom\u00e1ntica religiosa del s. Xix.  * la consulta de los libros de f\u00e1brica asi como los protocolos notariales de parroquias y cofradias se revela de capital importancia para determinar las caracter\u00edsticas de los encargos realizados, la tem\u00e1tica, la t\u00e9cnica, los soportes y los destinatarios, as\u00ed como la localizaci\u00f3n de los principales talleres de artesanos.  * todos estos factores no solo nos dar\u00e1n una visi\u00f3n m\u00e1s compresible de la pintura religiosa sino que tambi\u00e9n contribuir\u00e1n a interpretar los aspectos antropol\u00f3gicos, etnogr\u00e1ficos, motivos y sobre todos los comportamientos religiosos de los habitantes del oeste zamorano, as\u00ed como su organizaci\u00f3n y estratificaci\u00f3n social en distintas hermandades. Esta tesis en definitiva pude servir para transmitir el espiritu, los sentimientos y las ense\u00f1anzas de los antiguos artesanos a los artistas de hoy en d\u00eda, as\u00ed como diferenciar al imitativo y fervoroso imagninario de estampas piados<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El arte popular religioso en la pintura de los siglos xvii al xix en el oeste fronterizo zamorano (sanabria, aliste y sayago)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El arte popular religioso en la pintura de los siglos xvii al xix en el oeste fronterizo zamorano (sanabria, aliste y sayago) <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Nu\u00f1ez Lobo Pedro Antonio <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 25\/10\/2002<\/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> Mateos Rodr\u00edguez Miguel Angel<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Gonz\u00e1lez causante Jos\u00e9 Mar\u00eda <\/li>\n<li> Alonso coomonte Jos\u00e9 Luis (vocal)<\/li>\n<li> Marcos del olmo concepci\u00f3n (vocal)<\/li>\n<li>Jos\u00e9 Antonio Barreiro diez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Nu\u00f1ez Lobo Pedro Antonio * el estudio del arte popular religioso en la pintura del oeste fronterizo [&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 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