La Seu Episcopal d’Ègara : el projecte d’un conjunt cristià al segle V
The aim of this research about built heritage is to understand how were the buildings placed in the monumental ensemble of Saint Peter of Terrassa configured, from middle 5th century to second half of the 6th century. To do this, a search of bibliographic and documentary sources on the archaeologica...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | CBUC, CESCA |
| Repositorio: | TDR. Tesis Doctorales en Red |
| OAI Identifier: | oai:www.tdx.cat:10803/674998 |
| Acceso en línea: | http://hdl.handle.net/10803/674998 https://dx.doi.org/10.5821/dissertation-2117-371538 |
| Access Level: | acceso abierto |
| Palabra clave: | Esglésies de Sant Pere de Terrassa Profetes en l'art Esglèsia de Sant Miquel de Terrassa Art paleocristià -- Catalunya Ezequiel Trons Colzada Vuit Àrees temàtiques de la UPC::Arquitectura 72 74 |
| Sumario: | The aim of this research about built heritage is to understand how were the buildings placed in the monumental ensemble of Saint Peter of Terrassa configured, from middle 5th century to second half of the 6th century. To do this, a search of bibliographic and documentary sources on the archaeological site has been carried out. A journey has been made through the architecture of the intermediate spaces between churches, to understand them beyond their own circulatory use. And placing ourselves decisively on the church of Sant Miquel, a possible correspondence has been established between the architecture and the painting of the apse, from the interpretation of the iconographic program, also of the church of Santa Maria, and with the help of biblical texts. The unit of measurement has been defined based on the measurement of the set and the drawing by means of the 3D modeling of the church of Sant Miquel. And it has been determined what was the first form of the church also of Sant Miquel and its structural performance. Thus, the painting of the apse of St. Michael is, perhaps, a reinterpretation of its architecture, that is, a "plan" made after the construction that represents the rule that was used to think of the church, and where they intervened: the Temple of Ezekiel's vision, the new coming of Jesus, with the representation of the throne of the earthly monarch, and the new heaven and the new earth of the Heavenly Jerusalem. The future line of research will have to insist on two aspects of the same idea: the first, for the understanding of different Christian paintings and mosaics as a tool to represent an architectural composition, following the works of Duval, among others, and doing the iconographic analysis from the different biblical texts; and the second, to find out how this representation corresponded to real architecture, an old but not dethroned idea rehearsed by Krautheimer eighty years ago. |
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