TEXTO
EN INGLÉS, PARA LEERLO EN ESPAÑOL PULSAR EL SIGUIENTE ENLACE
Beside,
image of who writes these lines,
reflected in a mirror of the sacristy in the church of Piña de
Campos (Palencia) - we thank the parish of Piña for allowing us to
disseminate our photography.
Below,
my wife (Chiho Onozuka), framed inside a
large canvas of Zurbarán, where the Carthusians are represented in
the refectory - we thank the Museum of Fine Arts of Seville, allow us
to disseminate our photo. In the first case, we can observe the power
granted by a mirror, whose symbolic and mystical value in Asia is
very important; As philosophies as the Buddhist, they maintain that
life is the reflection of how much one thinks and does. Whereas
existence is like a rose garden; where he who focuses on evil, only
feels and observes the thorns of the rose bush. While those who join
the good, enjoy the flowers, their smell and beauty; without
forgetting that those are born in branches, which generated thorns to
protect themselves. In the image below, we can know the Hispanic
mysticism, enhanced by Trento; where the representation of the divine
can make you feel immense in the Kingdom of God. Thus, the churches
were decorated with heavens, images of angels, saints and with the
figure of the Father, the Son and the Holy Spirit; so that those who
entered into them contacted the most divine and came to believe that
they were in Paradise. With these two photographs we begin our second
chapter, in which we will try to analyze what was once the supreme
Creator, and what is God, for today's Spaniards.
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THE
IBERIA OF ANGEL AND CHIHO:
The
Iberia of Angel and Chiho is a tribute to the Hispanic culture and
civilization. Its title refers to the first great book written about
our Peninsula, located in the western Mediterranean: IBERIA of
Estrabón. In this series of articles we discuss our lands,
remembering their ancestors and remembering them from a time before
the Hellenes. Those who kept their historical memory calling Iberia
to the entire Peninsula, and conceiving it as a culturally united
territory (unless, from the sixth century BC; as Herodotus did). At
the end of this chapter, we explain the idea of that “Iberia de
Angel y Chiho”; that arose after the hundreds of thousands of
kilometers that we had to travel, exercising our profession or
studying Spain. Cultural or work trips, in which we take more than
one million photographs. Visiting the entire Peninsula and falling in
love with these lands whose historical value has been unmatched (at
least until decades ago). In order not to lose many of the aesthetic
and intellectual features of the Peninsula - characters that are
erasing the new civilization and recent fashions. We collect these
photos, ideas or data, in memory of all those who built and
maintained some of the most beautiful and interesting places in the
World. Thus honoring this Iberia, which my wife and I have loved so
much; and which we have enjoyed so much.
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In
pictures: Two drawings of mine, which I
upload as jokes on my Facebook. In the vignette above we
comment on Marx's phrase that states "religion is the opium of
the people"; something that is confirmed because when there are
no beliefs or religion, what people need is to take drugs (perhaps
for fear of existence or death). Below,
Nietzsche's phrase "God is dead", published in 1882; lets
think that finally the only one who has really died, has been the
philosopher who wrote it.
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WHAT
CAN GOD BE ?:
In
this second chapter, we will analyze the Iberian mystical feeling, of
today and of yesteryear; through images that we present below. Trying
to understand what God was for our countrymen, hundreds or thousands
of years ago; against the idea they have today of the Creator. In
this analysis and its reflections, it should be noted as very
important, that God is currently considered a universal, cosmic or
creative energy; while atheists speak of a simple cult symbol (used
as a hoax throughout history). In the face of these "modern"
ideas, we will see why centuries ago it was believed that the Creator
was the Light, the Messianic Son, or else God was considered good,
love or fraternity.
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In
pictures: Beside, beautiful Custody of Juan de
Arfe, who keeps the cathedral of Seville in his sacristy and treasure
- to which we thank us, allows us to spread our image-. Let's look at
the play of lights, shadows and brightness, which preserves this
space, in order to show us magnanimity and beauty. For the artists
who worked for the clergy during the Renaissance were fully aware
that their mission was to capture the beauty of the divine and
transmit it to humans. Working those painters and architects, in the
lights and colors, to transport us to the celestial world. Thus, for
them God could express himself in that luminous beauty, in its forms
and tones, which the Renaissance creators mastered with mastery.
Below,
a wonderful baptismal font from the collegiate church of Sasamón -
to which we thank us, allows us to disseminate our image. This
masterpiece that is supposed to have been carved by the Colony
Brothers, was vandalized by Napoleon's troops; when in 1809 they
turned this church into the headquarters of their troops. Despite
this, there are still the beautiful Renaissance traces in their forms
and in part of their size. Water and light were two of the elements
with which the artists who worked for the clergy played the most. For
as the Bible refers, God was conceived as the "Light of the
World" and also Creation began when the "Spirit of Light
loomed over the waters."
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In
pictures: On the side, a blessing stack in the
Trujillo Mayor Church - to which we thank us, allows us to spread our
image-. Below, baptistery in the Convent and Church of San
Francisco, in Guimaraes (Portugal) - to which we thank us allows us
to spread our image. In both cases, it is important to observe the
play of lights and the space that accompanies these sacred vessels.
Well, as we say, water and light were the two primary elements in
religion, since ancient times. The creation being conceived by
Genesis, as light entering the waters.
A)
Is God energy ?:
One
of the most common ideas, which we will read or listen to today; it
is that God consists of an "energy" - universal, primal,
creative or cosmic. Obviously this theory comes from the fact that
each era identifies God with the most important thing at the time. In
this way, as from quantum physics or from the theory of Relativity;
Everything comes together and looms around energy. God can be that
infinite and absolutely essential element that is neither born nor
dies; It only transforms, according to relativistic researchers. That
principle about what never dies and only changes, was first
promulgated by the father of modern science, called Lavoisier; who in
his "Elementary Chemistry Treaty" affirmed that "the
mass is neither created nor destroyed; It just transforms. ”
Physical law that was written just five years before the guillotine
cut its prodigious head (in 1794). Publishing his theory just when
the Revolution began, which allowed this great man to show us - not
before his public murder - that matter was neither created nor
destroyed, only transformed (because in “in a chemical reaction,
the atoms do not disappear, they are simply ordered differently ”).
That
argument was taken a century later by Einstein, who would apply it to
energy, because for the father of Relativity, mass and energy were
the same thing. Since in his theory, both elements are two forms of
the same reality. Because of this, it´s perfectly possible that mass
atoms are produced from energy; as much as that from the mass energy
is obtained. This is what we call today the principle of conservation
of mass + energy; and in my opinion I would be, to a large extent,
the culprit of the contamination of the Planet. For neither the fumes
we expel into the atmosphere are destroyed (they only change), nor is
the energy we create destroyed (burning that matter that generates
heat, cold or movement). Maintaining energy and mass in the
atmosphere and on Earth, changed in other wandering and polluting
ways. Of this, if we were able to transform the CO2 that is released
from fossil fuels, into some kind of combustible or useful element;
we would end not only pollution, but also the energy crisis.
So,
if God is energy; it better be renewable or alternative. Because of
being energy from fossil combustion, it will be the culprit of much
of our ills. Let's not say, if someone considers it "nuclear
energy", which has half of Europe against it. Although France,
as the homeland of the Curies, produces it to "tutiplén"
and next to the borders of the countries to which it sells light of
this origin. Neighboring nations to which it provides electricity
born from atomic fission, conducting a double business: First earn
money, with the huge cost difference between it and that generated in
other ways. Second, knowing that if there is an accident, the most
affected will be the border country that acquires it; because both
nations will join forces to remedy the damage to the damaged nuclear
power plant and that supplies the neighbor.
Be
that as it may, this paradigm that God is energy - because energy is
neither created nor destroyed, only transformed - would lead us to
God being also matter. Well, as we saw in Lavoisier's principle, it
was based on mass, like what is neither created nor destroyed, only
modified - altering in its atoms, but never disappearing. All this
leads us to conclude that energy is the same as matter for Einstein;
God would be indistinctly one thing or another: Mass or energy. A
universal principle that leads us to affirm that God would be
everywhere, as the old men used to say. But not only that; also, if
God is matter and energy - interchangeably; its most original and
remarkable manifestation would be the light. Thus, Einstein's physics
should conclude that God is the light; culminating his theory with
those phrases we read in the oldest churches, where "EGO SUM LUX
MUNDI" is dictated in Latin.
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In
pictures: On the side,
a copy of the crown of Recesvinto, as shown in the interior of San
Juan de Baños (Palencia) - we are grateful for allows us to spread
our image. It was the custom of the Gothic kings - supposedly
inherited from the Byzantines - to deliver their crown to the altar
of the primated cathedral. Because of this, they were supposed to
deposit them in Toledo. But with the coming of the Arabs, some
Visigoths fleeing from this city would take away the treasure of the
cathedral to bury it in a nearby town, called Guadamur. This was
Guarrazar's so-called treasure, of which a large part was lost;
although thanks to the intervention of the diamondmaker Toledo,
several almost complete pieces could be recovered. One of them was
the crown of Recesvinto, today exhibited in the National
Archaeological Museum (Madrid); whose replica also looks in San Juan
de Baños. Temple considered the oldest church in worship, which was
founded by Recesvinto; who drank waters that flowed nearby, with
which the king godo cured his kidney diseases. Water and light are
two of the essential elements for all Christian faith; of this, one
of the most important moments in the life of every Catholic and of
Jesus, is his baptism.
Below,
curious latticework existing in the convent of San Pedro de Soria
(capital) - to which we are grateful, allows us to disseminate our
image. In its design we can see astral figures in what look like two
shields, representing the moon and six-pointed and five-pointed
stars. Under these, two clearly templar crosses are observed. Without
a doubt, it is a schematic drawing with a mystical character; as was
common in many of the Templar representations. Who in their trips to
the Holy Land, took symbols and ancient ways, coming from religions
of the Middle East. Whose lunar and astral drawings are related - in
my opinion - with astronomical knowledge and the need to be guided by
the stars in the desert. Thus, the light was from the earliest times,
a symbol of guidance and help, in the way of our life. Because thanks
to it they could orient themselves during the night, as much as by
day - through the night glow of the Cosmos or the sun shadows, after
dawn
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In
pictures: On the side,
one of the outer walls of the mosque of Cordoba, converted during the
17th century into a Christian chapel.
Below,
sacristy of the cathedral of Seville - to
which we thank us allows us to spread our image. Let us observe in
both cases the play of light and shadow; next to it, the importance
that have the batteries and sources with water.
In
pictures: On the side,
pray in the cathedral of León -to which we thank allows us to spread
our image-.
Below,
the gothic baptismal font of the collegiate church of Úbeda - to
which we thank us, allows us to disseminate our image.
In
pictures: On the side,
inside the Cathedral of Segovia -to which we thank allows us to
spread our image-. In the center, my wife; In the background a
wonderful gothic Calvary. Let's look at the play of lights and
colors.
Below,
two Romanesque stacks, from the main church of San Clemente de
Tahull, Valle del Boi (Lleida) - to which we are grateful, allow us
to disseminate our image. Let us observe the roughness of the work
and its precious state of conservation, the baptismal size of our
left having a great size.
in
pictures: On the side,
beautiful pile carved in limestone, that is conserved in the
cathedral of Oviedo - to which we are grateful it allows us to spread
our image. There are those who relate this piece of enormous size,
where a whole man fits, with some martyrology. Although in my opinion
we should not consider it the attribute of a saint subjected to
torture in a similar vessel; but rather I think it is a baptism pile
by immersion. A technique that was followed especially among the
Visigoths, who celebrated that sacrament in a small pool. Because
this huge container to baturize, it could be a custom inherited in
Asturias, from the memory to the Goths.
Below,
the baptismal font of the Cathedral of Plasencia - to which we thank
us, allows us to spread our image. Its decoration with motifs similar
to serpents and balls, perhaps reminds us of the buboes and fears
plagued in the years when we can date this piece (which we calculate
from the fourteenth-fifteenth century).
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In
pictures: On the side,
broken pile that we can see in the collegiate church of Brihuega
(Guadalajara) -to which we thank allows us to spread our image-. This
type of pieces amortized and beaten, are in the basement of the
temples, currently excavated, to rehabilitate them; because when the
churches were restored in centuries after their construction, the
batteries (blessing and baptismal) changed commonly. Breaking the old
ones, which were buried under the rebuilt temple and placing new
ones. When the churches are modernly restored, the architects usually
recover the old ones and - after fixing their damages - place them in
the place where they were found.
In
pictures: Beside,
beautiful baptismal font of one of the chapels, in the cathedral of
Segovia - to which we appreciate allow us to spread our image.
Below,
baptismal font and several saints, as they are currently exhibited in
the main church of Pinilla de Toro (Zamora) - to which we thank us
for allowing us to disseminate our image.
In
pictures: On the side,
huge rattle that is preserved in the cloister of the collegiate
church of Écija -to which we thank allows us to disseminate our
image-. The size of its wooden blades far exceeds one meter long; So
the noise it produced must have been shocking. It is dated around
1830 and it is known that it was hung from the main tower during Holy
Week, to make it sound after the office of darkness.
Below,
a 17th-century tenebrary that is preserved in the Astorga Cathedral
(exhibited in its museum, which we are grateful for allows us to
disseminate our image). Below, another tenebrario and a brazier, from
the cathedral of León (to which we are grateful, allow us to divulge
our image). The tenebrarios were candlesticks that were used to
celebrate the Crafts on Good Friday. On this date, after sunset, all
other lighting of the temple was extinguished and only fifteen
hatchers were lit, which contains this giant chandelier (seven on
each side and one in the center). That number is related to the
Mysteries of El Rosario and the Fifteen Promises of the Virgin. In
this way they performed the Dark Office of Good Friday almost in the
dark; where three Rosaries were prayed and after completing each
Mystery, a candle was extinguished. To be five Mysteries for Rosario,
they finally added a total of fifteen and the central ax was the last
to be extinguished, leaving the church without lighting and in
darkness. At that time, the entire community began to beat their
rattles and rattles, as much as in some cases the drumming began;
giving way to a succession of terrible continuous sounds, to create
an emotional environment of enormous effect, reaching ecstasy. As we
can understand, this celebration relates the darkness with the death
of Christ and the rumble produced by the beating of drums, rattles
and rattles; With hell
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B)
Is God matter ?:
We
had seen that for modern physics, energy and matter are comparable;
because the first can be transformed into the second, just as energy
is obtained from matter. Both are equivalent and also indestructible;
because they only change, never disappearing (becoming other physical
or chemical forms). Thus, if God is energy; because this is eternal
and only transforms, never destroys. We must first understand that
God is matter; since in the mass it is clearly experienced that its
atoms are the ones that change, but they don't disappear. Well, as
Lavoisier showed, when the water reaches 100 degrees, it becomes
steam (seeming to vanish). But it will be enough to distill it, to
understand that on the other side of the pipette, it returns in its
purest form; while all the salts, minerals and impurities that the
liquid contained, have remained in the container that cooked it.
The
previous example is quite basic, although it really sums up what
Lavoisier meant by saying that matter is never destroyed, it just
transforms. A fact that is no longer so clear at the time we burn a
log, and we try to recover it in the way it can be done with
distilled water - putting it back into the saucepan where it boiled,
to mix it with the elements that initially contained -. Thus,
Lavoisier's words will come full of doubts if the experiment is done
by letting a log burn until it turns to ashes and then considering
where much of that matter, which was once wood, has gone: To the air,
to fire, light, heat ...? And it is that in the maximum mystery of
the transformations, there is that of energy; because the thought
that God is energy, seems an idea born of logic - more human than
scientific. Since energy we can call anything; even to the bad
character of a person, who with such energetic forms "whips"
those around him.
But
moving on to science and theology, we have the doubt whether matter
can itself be considered God; or if man needs to think of some more
transcendent element, in order to conceive the High Creator. Before
this question, we will conclude that Humanity needs to conceive the
Supreme Father, always as a combination of matter and energy. Mainly
of water and light; as La Bibia does in its first sentences, when it
explains the Creation born of God and through light and water.
Consequently, some translations of Genesis (1,2) collect that origin
of the Whole, with the phrase "the spirit of the Light loomed
over the waters." Letting see that life is generated from this
union between both elements. A physical-spiritual idea that perhaps
comes from the simplest investigation, observing that in a container
with water and left to the Sun; soon he will be born green, but later
- in his rot - he will present strange “tenants” (first
vegetables and finally insects).
Nevertheless,
in the twentieth century we had the "luck" that scientists
like Alexander Oparin, showed that Creation did not exist - at least,
as conceived by religions; and that the idea of God was unnecessary.
So much so that in 1924 this Soviet biochemist presented his great
experiment on the origin of life on Earth. An ingenuity that mainly
consisted of drinking distilled water, keeping it in a vacuum
exposing it to light, at high and low temperatures; and introducing
continuous electric discharges into the liquid (creating a medium
similar to what it could have on our planet, when there was still no
life). After several sessions, he observed that the heat, the
ultraviolet rays and the electricity of the atmosphere; they caused
chemical reactions that gave rise to amino acids, proteins and
organic molecules. This is what we call coacervation or appearance of
coacervates (molecular union held together by electrostatic forces);
which are considered the antecedent and origin of the first
unicellular beings. From the experiment of Oparin and his followers,
the idea of an “initial soup” was born, which they called “Primal
Broth”. Consisting of a mixture of nitrogen, hydrogen, oxygen and
carbon (as liquids, existing millions of years ago); that after being
subjected to high or low temperatures, exposed to sunlight and
electrical energy. Achieved a "cooking" (performed by
ultraviolet and discharges, to different degrees), where the
coacervates would be born, thus giving rise to life.
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In
pictures: Above, altarpiece of the church of
Santiago in Piña de Campos (Palencia) -to which we thank allows us
to spread our image-. Let's observe the light, as the protagonist of
the scene.
To
the side, detail of a street in Évora, where we find a cross in
a luminous lantern, elevated in a Roman column and capital. The use
of games of lights, fans, skylights and windows; It is common to all
religions, in order to express mystical feelings, relating the
luminosity to the ascetic.
To
the side, a statue representing San Jerónimo, in the Pazo de San
Lorezo church (Santiago de Compostela) - to which we thank us, allows
us to disseminate our image. Let us also observe the way in which the
stone carving is illuminated, imitating what was once done with
candles; to highlight its enormous artistic and mystical value.
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In
pictures: Above, relics of the Apostles, belonging
to the treasure of the Cathedral of Orense -to which we thank allows
us to spread our image-. In this type of pieces, we see the use of
precious metals and gems, in order to create that luminosity that
joins the image of good to that of light. On the left, we have a custody of the Sacred Form, which contains solar symbols, imitating rays of light; what is called in iconographic terms as "powers." These figures mean the halo of light, symbolizing the most sacred holiness.
On
the side, altarpiece of the Astorga Cathedral - to which we are
grateful, allows us to disseminate our image. Let us observe in the
photograph the play of colors and lights, crowned by stained glass,
Below,
door of a sacred closet in the church of the castle of Cuéllar
-to which we thank allows us to spread our image-. In it we have
painted a chalice kept by angels, from which the Sacred Form stands
out, crowned by "powers." Rays of light, which, as we have
said, symbolize the most sacred.
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Everything
we have explained about Oparin's theory; we can read it almost
intuitively in Genesis 1, as in the Rig Veda and in many other
religious texts. Where they commonly mention as fundamentals of
Creation: Water mixed with light and storms, linked to "mineral
dust." As the Egyptians already did, five thousand years ago;
when they considered the mother of the World, that "great
aquatic snake" (today called the Nile River). While the father
god was the Sun, whose rays caused the overflow of the maternal
channel, achieving the irrigation of the desert banks (spreading
sludge) and the fertilization of their lands. Thus, the solar god
(Ra) and the lunar aquatic mother (Isis); Unite to generate life and
existence. Born from the combination of both elements: Moon and Sun,
water and light; next to the mineral fertilizers, promoted by
astronomical phenomena (dates) and meteorological (rains or heat),
that propitiated the Nile flood.
What
is stated in the previous paragraph, makes us wonder if Alexander
Oparin, the Rig Veda, Genesis, the religion of Egypt; along with a
long list of mystical ideas, which conceived the origin of life in
light, water and energy. They speak to us of the same, although using
a different language: Religious, mystical, scientific or biochemical.
Well, in my opinion, the man (whether philosopher or researcher)
contains "brain terminals" that act as the cat's mustache.
Hair that allows that cat to know if something should not be eaten;
getting cats to save themselves from possible poisoning, simply
because of what that "mustache" sends them. In the same way
that Humanity perhaps contains a sixth intuitive sense, through which
it can solve the most transcendent enigmas; using science, mysticism,
thought or meditation.
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.In
pictures: Above, refectory of the Monastery of La
Cartuja, of Granada - to which we thank us, allows us to disseminate
our image. The interior light games are very important in religious
architecture. Of this, the dormitories and rooms in which the clergy
made their daily life - where they met and ate; They have a type of
lighting very studied. Pretending to generate a mystical feeling and
without ever exaggerating the light (in a very different way from the
way contemporary architecture does, which normally subjects an excess
of lights to those who live it).
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On
the side, Diego de Anaya's tomb, in the Salamanca cathedral - to
which we thank us, allows us to spread our image. The statuary and
the disposition of the elements in the ancient temples, kept
aesthetic, ethical and didactic reasons. Among those, he highlighted
the importance of lighting with candles, to impress the visitor;
lights that today are replaced by spotlights. Highlighting the
impressive mystical character of these great works of art.
Below,
entrance to the cemetery of Moldes, in Pontevedra. Galicia is a
region that allows to create a mystical environment with natural
elements. Because due to its humidity and vegetation, the gray tone
of its light, or the moss that arises everywhere in its stones;
generates in its environment and outdoors a curious theatricality,
reminiscent of legendary environments. From these features that give
a mysterious tone to the countryside and the Galician coasts, the
multiple historical superstitions of the area are born. Likewise,
these characteristics were used by the Catholic religion, to place
their holy churches and countryside, creating an environment
conducive to empowering imagination and beliefs.
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In
pictures: On the side, again, statues of the tomb
of Diego de Anaya, in the cathedral of Salamanca -to which we thank
allows us to spread our image-. Let's look at the play of lights and
the arrangement of the carvings, generating a scene of enormous
artistic value, but also mystical.
On
the side, fascistol in the cathedral of Segovia - to which we
thank us allows us to spread our image. In these giant lecterns
(called facistoles) a huge book was placed where they could read the
components of the choir the score, in order to sing it in unison. The
illumination of the skylights of the church should fall right at the
point where the fascistol opened, to allow the clergy to read their
notes and the letters to be interpreted.
Beside,
fascistol of the monastery of Celanova -which we thank allows us
to spread our image-. In the picture we clearly see the natural
situation of this music stand, next to the skylight of the choir.
Below,
detail of a cross arm made of rock crystal, on which we see in
the background a figure. The photograph, taken during an exhibition
at the Museum of Santa Cruz de Toledo - to which we thank us allows
us to spread our image; It shows how the Church uses every beautiful
element to generate a mystical feeling. In this case it is the rock
crystal, whose luminosity leads to identify its precious light, with
that of God.
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In
pictures: Choir of the Collegiate Church of Alarcón
(Cuenca) -to which we thank allows us to spread our image-. Among the
ways to create environments of light and shadow, inside the temples;
the minor architecture was used, creating separations with false
wooden walls and half-height stone partitions (separating the
churches in different areas)
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C)
Is God the Redeeming Son ?:
One
of the deepest mystical feelings of Christianity is that of seeing
God in the Child. I write a child, in capital letters, when referring
to the sacred Son of man. Despite this, to reach this mystical
feeling, Humanity traveled a path for almost four thousand years,
whose beginnings were terrible. Since the first case of infant
messianism, was based on infanticides of firstborn; religious custom
extended among the Semitic peoples during the Bronze Age. This
sacrifice of the eldest son was carried out in a common way in the
Middle East, during the second millennium BC; must be offered to the
Baal (king, god and lord of the city) that offspring, to be admitted
to the Society that the monarch ruled. This use remained widespread,
at least until the Iron Age; reaching in some cases until its final
stage (3rd century BC) in towns such as the Phoenician. Where in the
face of a social crisis or wars, the firstborn of the nobles was
taken to the temple; to be slaughtered by the priest and before the
relatives, then throwing his body into the sacred fire. The rite was
performed in effigy and offer of the Baal, lord of the temple and
king of the city-state. Sacrificing a child in substitution of the
monarch; who forced the parents to make such immolation, to admit
them under their power.
In
my opinion, we can say - safely and without fear of being mistaken;
that the figure of Abraham (father of monotheistic religions)
symbolizes those peoples who refused to admit such aberrant religious
use. Preferring to roam the desert - without home, or protection -,
rather than undergo terrible ceremonies, which required surrender to
the firstborn. As we have said, this ceremony was necessary to be
admitted to walled cities, especially in Semitic societies and during
the third and second millennium BC Although we have to assume that
once the infant was delivered and immolated, the parents were already
captives of that heinous social system; being able to them the baal
-or king- to demand all type of aberrations, ordered from their
power. Abraham's dating is documented around 1800 BC; moment in which
some people established in the area between present-day Arabia and
the Mediterranean, would decide to live as wandering Bedouins in the
desert, rather than submit to this law of infanticide - common to the
state cities of the time. For all that we narrate, among these
Semitic peoples the idea of the Messiah is born, as a man-god,
capable of breaking that chain of ritual murders, to end the
ceremonial imposed, which demanded the immolation of the firstborn.
Finally,
Christianity decides that this man was Jesus and that his figure as a
child, supposes that of the liberator sent by God. This will give
rise to the feeling among Christian parents, of conceiving their
children as the Savior. At the same time they will observe their
mothers as virgins; without conceived sin, for the kindness and love
they give to children. It follows this mystical feeling, especially
reflected in the Christmas season; where the little ones are the
protagonists in every religious celebration. Based on this, the
figure of the Child Jesus, whose mysticism is based on the love of
children, which each Christian family keeps. Identifying the
innocence and weakness of the newborn, with the goodness of Christ.
Thinking - in some way - that this new life arrived in the World,
means receiving a kind of resurrection in each home.
.
.In
pictures: Two images that represent Isaac's Sacrifice.
Beside, sculpture by Alonso de Berruguete owned by the National
Sculpture Museum of Valladolid (San Gregorio) - to which we thank us
allows us to spread our image.
.
Below,
a wonderful Visigothic capital, of the San Pedro de la Nave
church (Zamora) - to which we thank us, allows us to disseminate our
image. Both represent the origin of the monotheistic faith and that
of the people of Israel, with the patriarch Abraham (which today is
the common trunk of the Jewish, Christian and Muslim religions). My
interpretation of these facts that the Old Testament narrates is
based on the fact that during the Bronze Age, the great majority of
the city-states of the Middle East (and the Semitic world) demanded
from parents the sacrifice of the eldest son, for admitted in your
society. It was a ritual of initiation common to the older religions,
by which the parents were obliged to deliver their offspring to the
temple, to be immolated in effigy of the king-god. Probably with the
intention of trapping them under their power; because after that
aberration the city leaders could brutally subdue those parents, or
freely dispose of the lives of those who had performed that macabre
ritual.
The
Old Testament narrates that Abraham fled from Ur, located in
Mesopotamia and where he was born; because there the Baal and other
terrible gods were venerated, those who sacrificed people. After
wandering in the desert and standing next to Mount Moriá; Abraham
believed that he should immolate his son, just as the rest of the
people did in the name of their god. But there he was ordered to
sacrifice a ram, instead of the firstborn; and replace the ritual of
cutting the child's neck, by circumcising him. Thus generating the
Alliance with Yahweh, the only God who did not allow the sacrifice of
humans. This story dated around 1800 BC, located in the vicinity of
what would later be Jerusalem; It is without a doubt the origin of
the Jewish people, which was characterized by not admitting those
sacrifices of infants (common in all religions of the second
millennium BC). That is why he must live wandering in the desert and
without being able to protect himself under the walls of a city;
since the kings of walled cities at that time, subjected their
subjects the way we narrated. That nomadic and erratic life of the
tribes who refused to immolate their children to the Baal would make
them merchants; whose business was to transport goods between
Mesopotamia and Egypt. Although around the 17th century B.C. they had
to enter the kingdom of the Nile, as bourgeoisie and advisors of the
Hicsos kings (a new dynasty of creto-anatomical origin, which is
established from 1650 to 1550 B.C., in the Nile Delta). After the
fall of the Hicsos and with the beginning of the New Empire (1550
BC), they would be enslaved by the pharaohs of purely Egyptian
origin; possibly in retaliation for having helped and served the
Hicsos. These slaves were called Aipuru in the Delta, which meant in
the language of the Nile "on the other side"; voice that
led to "Hebrews."
.
In
pictures: To the side, little angel of the
altarpiece in the main church of Alarcón -to which we thank allows
us to spread our image-.
Below,
detail of the altarpiece in the Church of Carbonero el Mayor
(Segovia) -to which we thank allows us to disseminate our image-. In
both cases we see children turned into angels or divine beings, who
help redemption.
.
In
pictures: To the side, a little angel belonging to
a Baroque altarpiece, as it was exhibited in the Pimentel Palace
(collection of the Valladolid Museum of sculpture), in the exhibition
called El Almacén -to which we thank allows us to disclose our
image-.
Below,
two children sculpted under the choir of the church of Piña de
Campos - to which we are grateful, allow us to disseminate our image.
In
pictures: To the side, sleeping child, as an
allegory of the resurrection. This sculpture that is next to the
Brotherhood of the Tabernacle, in the Cathedral of Seville - to which
we are grateful allows us to spread our image; It is a representation
with Roman roots (as we will see in the following image).
Down,
Eros slept; Roman sculpture of the third century, owned by the Casa
del Temple collection, Toledo - to which we thank us, allows us to
disseminate our image. In this magnificent marble statue, there is
the god of Latin love keeping sleep, with wings and with the
attributes of the infant Heracles (lying on a lion's skin). In his
left hand he carries a cluster of what seems like opium poppies,
alluding - in my opinion - to a sweet death. Next to his legs we see
a quiver (with a certain phallic shape), under which something
similar stands out at the end of a small arch. Finally, the tail in
the lion's skin resembles a serpent; to my mind as a symbol of
Heclacles child - who killed this reptile, already in the cradle.
This statue of enormous quality and value, belonged to a children's
grave and must have been the son of some noble or rich
Hispanic-Roman. Citizens of great importance in Spain at the time,
which is deduced by the enormous quality of the sculpture; so much
that it was possibly carved in the capital of the empire, to be
imported from Italy to our lands. There are very few representations
of Roman children with this perfection, in our country
.
.
In
pictures: Two images of a sleeping Infant Jesus,
attributed to Pedro de Mena, as it was exhibited in the Museum of
Santa Cruz, during the exhibition THE SPANISH FASHION IN THE GOLDEN
CENTURY - to which we thank allows us to disclose our image-. The
infant in his right hand keeps the Orb, which lacks the cricifijo and
in his chest contains a pendant with the Maltese cross. He is dressed
as a little prince or rich nobleman of the time.
In
pictures: Two details of children that adorn one of the
main tombs in the cathedral of León -to which we thank allows us to
spread our image-.
.
In
pictures: Next, a Baby Jesus in the church of San Pedro,
in Mucientes (Valladolid) - to which we thank us, allows us to
disseminate our images. Below, another child, but in this case San
Juanito, existing in the sacristy of the same church (Mucientes).
This sculpture has no hair, because the hair was a donation of those
who acquired the nun's habits and delivered these sizes of the
infants as ex-vows. Novices who entered the convent -when they were
very rich-, used to give one of these children in wood, as an
offering to God and his ecclesiastical "marriage."
Normally, the hair of the sculptures used to be that of the one who
donated it to the temple, when it was cut when taking vows; although
it could be replenished with that of another bidder.
In
pictures: Two more photographs taken in the church
of San Pedro, of Mucientes (Valadolid) - to which we thank us for
allowing us to disseminate our image.
On
the side, a boy with the Archangel Saint Raphael. These types of
sculptures, representing a minor next to the Archangel, were donated
when they had to send a son away from his parents (to study or to
live). Calling in return to pray for the good of the child, who was
far from home.
Below,
another Infant Jesus, in this case exposed on the main altar of
the aforementioned church.
.
In
pictures: Two photographs of the sacristy of the
church of Cigales (Valladolid) - to which we are grateful, allow us
to disseminate our image. In it we see one of these Children Jesus,
who used to donate the wealthy novices when entering the convent, as
it is preserved in this precious sacristy (between mirrors and on a
large frailero furniture).
.In pictures: On the side, Child Jesus that the Great Captain led to the battles. It is preserved in La Cartuja de Granada -which we thank for allowing us to spread our image-; exposed very close to the grave of this distinguished general, who curiously did not war but was next to this fun statue carved in the mid-fifteenth century.
Below,
detail of the tomb of the Alderete, in San Antolín de Tordesillas
(Valladolid) -museum to which we thank allows us to disclose our
image-. In it appears a sleeping child, wonderfully sculpted, next to
a helmet and adorning the cenotaph.
In
pictures: To the side, another child, as exhibited
by the San Antolín church museum, in Tordesillas - to which we thank
us allows us to spread our image. In this case, because of his
shepherd's suit and his banner, we believe it is a San Juanito.
Below,
the tomb of the cloister in the Cathedral of Ciudad Rodrigo - to
which we thank us, allows us to spread our image; where we see a
beautiful virgin with a Romanesque child. To understand the size and
quality of the piece (which retains much of the polychromy) I have
placed my wife at his side.
In
pictures: To the side, again a child worshiping a
grave, this time in the Cathedral of León -to which we thank allows
us to spread our images-.
Below,
an angel acting as a corbel, in the same cathedral of Leon.
In
pictures: To the side, Virgen del Prado with Child,
in the cathedral of Talavera de la Reina (Toledo) -to which we thank
allows us to disseminate our images-.
Below,
a saint with a girl at the entrance to the cloister of the monastery
of Celanova (Orense) - to which we thank us, allows us to disseminate
our images. This beautiful Romanesque sculpture can represent Santa
Ana with the Virgin girl; although it could also be a queen of the
time holding her daughter.
In
pictures: To the side, Virgen de la Mayor,
patroness of Sigüenza; surrounded by angels, as shown in the
cathedral of this beautiful city of Guadalajara - to which we thank
us for allowing us to disseminate our images. The niche and the
angels are much later, but its base and the size of the Child with
the Virgin of the Major; They are exceptional Romanesque pieces,
which it apparently brought to Guadalajara Bernardo de Aachen, around
1112.
Below,
Niño of Pedro de Mena, as shown by the Museum of Fine Arts of
Seville - which we are grateful for allows us to disseminate our
images. Perhaps it is a San Juanito (when carrying a large cross);
although normally the San Juanitos contain some attribute of
shepherds.
In
pictures: Next, Virgen de las Batallas con el Niño; It
was held in Limoges around 1225 and comes from the demolished
monastery of San Pedro de Arlanza. This is another exceptional
Romanesque piece, in this case exhibited in the Provincial Museum of
Burgos - to which we are grateful to allow us to disseminate our
images.
Below,
Epiphany on the stairs of Santa María la Mayor, of Morella
(Castellón) - to which we thank us, allows us to disseminate our
images. This ascent to the choir, is decorated in its railing with
polychrome gothic figures, of a wonderful quality. Its authors were
Antoni Sancho (artist born in Morella) and the Italian Giuseppe
Belli; who sculpted these scenes of the Epiphany and the Last
Judgment in the mid-fifteenth century.
In
pictures: To the side, the newborn Baby Jesus, on
the stairs of Santa Maria la Mayor de Morella -to which we thank
allows us to spread our images-.
Below,
adoration of the shepherds, of the same group sculpted by Antoni
Sancho and Giuseppe Belli, a few steps before the Portal of
Bethlehem.
In
pictures: The Three Wise Men, on the stairs of Santa Maria
la Mayor de Morella -to which we thank us allows us to disseminate
our images-.
Below,
the general scene on the stair railing.
In
pictures: Two more images of the staircase of Santa Maria
la Mayor de Morella - to which we are grateful, allow us to
disseminate our images. Let's look at the traces of this incredibly
beautiful spiral staircase, which leads us to a strange choir, a
penis of figures and whose deeds are not known the same in Spain.
D)
Is God the beauty ?:
This
principle is what some men of the world of art and philosophy raised;
focusing in many cases on physical beauty, because the beauty of the
human body is what most prompts to create. To generate life and
inspire works of art; At least painting and sculpture, which have
been so dominated by the study and expression of our anatomy. So much
so, that even the figuration of bodies discovered in the altarpieces,
in carvings and in all kinds of representations of churches or in
convents could be avoided. Naked appearing even in places as unusual
as in Renaissance tombs, in Gothic architecture, in Romanesque
temples or on the major altars of cathedrals and parishes.
We
are not referring to some classical religious figures, such as the
iconography of La Pasión. Where the representation of the scourged,
crucified Jesus, at his funeral, or in the Ascension; They are a
forced study of male nude. Nor to the saints who commonly have to
present themselves without clothes; like San Sebastián, San Jerónimo
or the Magdalenas in ecstasy (always with a strange foreshortening,
half-naked and normally covered with their own mane). But we talk
about real series of nudes that populate the altars and altarpieces
of Spain; where they sculpted and painted wicked or young women
without any clothes, making the strangest movements; along with a
long etcetera of obscene figures - which seem more ornaments for a
place of love encounters and not those of a sacred place. About this,
we will point out an unknown fact that was a huge problem for the
Church. This was the use of temples as a place to practice seduction
and sex. A custom that, it seems, was born during the Middle Ages;
when the priests promoted the copulation, with the purpose that the
Christian population grew. They did so much and with such fervor,
that medieval clerics lived with concubines; In addition to promoting
ornaments in sacred constructions with obscene and sexual figures (as
we can see in various Romanesque and even Gothic churches). All this
led to the use of parishes and cathedrals as places of sexual
encounters, where even the priests practiced that sin called
"solicitation." Citing those who wished in the confessional
or somewhere in the sacrum, to have contacts there. Relaxed customs,
against which the Council of Trent and the Inquisition fought hard.
Be
that as it may; regardless of obscenities and unholy acts; The
historical truth is that beauty was one of the main arguments for
finding God. As much or more than mathematics and science; because
the arithmetic hypotheses that show the Creator, were fundamentally
based on the numerical beauty or a measurable canon that the
scientist observes and where the beauty of the Universe is
understood. An aesthetic of the Cosmos, which can be tangible thanks
to the knowledge of physics or mathematics. But that always
culminates with the conclusion of believing in God before the
admiration that awakens to verify that the scientific postulates with
which we study his creation, contain a balance loaded with beauty and
harmony. Getting to perceive in the Universe, some dimensions,
measures or intervals; perfectly divided, and inexplicably beautiful.
All that leads us to deduce that they can only be made by the Great
Creator, the maximum architect of beauty and aesthetics - with which
Humanity vibrates and moves.
.
In
pictures: Two photographs taken at the exhibition of the
National Sculpture Museum of Valladolid "The invention of the
body, naked anatomies and passions", held at the Pimentel Palace
during 2018 -to which we thank allows us to disseminate our images-.
In both we see pieces of disciples of Michelangelo, in which the
beauty of the body is sublimated, to create religious icons whose
protagonist is Christ during The Passion.
In
pictures: Two other images of the exhibition of the
National Sculpture Museum of Valladolid "The invention of the
body, naked anatomies and passions", held at the Pimentel Palace
during 2018 - to which we thank us allow us to disseminate our
photographs.
To
the side, Santa Águeda by Andrea Vaccaro, painted around 1635.
The work belongs to the El Prado museum -which we thank for allowing
us to disseminate our photographs-. Below, a table attributed
to Jan Massys representing Susana and the old men (around 1540);
Bible scene that has been a source of inspiration for several
painters. In both cases we see the beauty of women and eroticism, as
an exaltation of a mystical feeling.
.
.
In
pictures: Two other images taken in the exhibition
of the National Sculpture Museum of Valladolid "The invention of
the body, naked anatomies and passions", held at the Pimentel
Palace during 2018 - to which we thank us allow us to disseminate our
photographs.
On
the side, a penitent Magdalena by Juan Bautista Maino (circa
1620). In the aforementioned exhibition, the organizers commented
that after Trento, the counter-reformers put great effort into
spreading the image of a holy woman, whose body was the symbol of
"guilty nudity." Example of maximum beauty and eroticism,
but above all of renunciation (as do the nuns when taking habits). So
- in my opinion - images like the one we see, would contain a
mystical sense related to the one who watched them; testing the one
who enjoyed them. They should be interpreted in them only the sense
of pure beauty, full of love, but without eroticism; but above all,
the aesthetics created by God, far from any animal or sexual feeling
- the canvas belongs to the Museo de Bellas Artes de Oviedo, to which
we are grateful to allow us to disseminate our photographs.
Below,
wonderful work by Artemis Gentileschi, entitled "allegory of
painting", although it is a representation close to the Cupcakes
and contains a great claiming character. It is clearly a
self-portrait, where the painter is fully exhibited, along with her
brushes, her palette and easels; in a foreshortening similar to those
of Magdalena's ecstasy. The mask from which it emerges represents the
purest nudity; and the pride with which he shows his flesh shows that
he felt beautiful. In the case of a work where the artist tries to
show the superiority of women, capable of creating life and art. We
will add - in a humorous tone - that the aesthetic canons have
changed a lot; Well, Artemis, today, would be just an image for a
good deli. Be that as it may, the enormous merit of the canvas is not
only pictorial; but cultural. For very few women would dare to
self-portray this guise and feel so happy with their body - the
painting belongs to the Tesse museum in Le Mans; We thank you for
letting us share our photographs.
.
.
In
pictures: On the side, Adam and Eve by Juan de
Arfe, in the custody of the cathedral of Valladolid; as it was
exposed in the exhibition of the National Museum of Sculpture of
Valladolid "The invention of the body, naked anatomies and
passions", held in the Pimentel Palace during 2018 - to which we
thank allows us to disclose our photographs. It is a wonderful
goldsmith's piece where the characters' bodies contain the design of
a perfect anatomy.
Below,
main altarpiece and tabernacle of the church of Capillas (Palencia) -
to which we thank us, allows us to disseminate our photographs. In
its bas-reliefs we can see Christ coming down to Purgatory - upper
part - and under this, the representation of hell (full of nudes,
even with obscene postures).
.
.
.In
pictures: Two images of the main altarpiece of the
Astorga Cathedral - to which we are grateful, allow us to disseminate
our photographs. Work of Gaspar de Becerra (polychrome by Gaspar de
Hoyos and Gaspar de Palencia), contains a fully Trentist iconography.
Their representations are Marian (about the life of the Virgin),
although if we observe them carefully, we will see that they are full
of nudes. Next, the Ascension of Mary in Astorga Cathedral; where the
ascent to the skies is presented, surrounded by angels, who are
mostly naked teenagers.
.
Below,
the same altarpiece, where we will not only find many boys without
clothes; but also with odaliscas and prostitutes, who even offer
their breasts to young strangers (as they appear in the lower part).
Obviously, all these are representations of sin, although it is very
difficult to conceive why women like these were spit in the first row
of the main altar; with huge sexual attributes, offering kids drinks
or their body.
In
pictures: Images of the San Antolín church museum, in
Tordesillas - to which we are grateful, allow us to spread our
photographs To the side, the good thief, next to the Crucified
one in the part superior of the greater altar - chapel of the
Alderete´s family. The represented looks to the opposite side where
an odalisque is found, showing the breasts. Below, the
complete altarpiece in the Alderete, whose sculptures are attributed
to Juan de Juni.
Below:
Image of the “bad thief”, in the same altarpiece of San Antolín
de Tordesillas; where it is observed as from the cross, looks to the
side where another odalisque is found, showing her breasts and body.
.
.
In
pictures: Two images of La passion. On the side,
crucifixion in the monastery of Tibaes, Portugal - to which we thank
us allows us to disseminate our photographs.
Below,
Gothic piety at the head of the cathedral of León - to which we
thank us, allows us to disseminate our photographs. In both cases we
see sublimated body beauty, in the representation of the body of
Christ.
In
pictures: On the side, Gothic Piety owned by the
church of San Cebrián de Mazote -to which we thank allows us to
disseminate our photography-.
Below,
Santo Entierro sculpted by Joao de Roúao, owned by the Coimbra
Museum - to which we thank us, allows us to disseminate our
photography. In both works, the representations of the dead Christ
are an anatomy study that summarizes the feeling of sublimated
physical beauty.
In
pictures: To the side, a Saint Jerome exposed in
the church of Santiago de Cáceres capital -to which we thank allows
us to disseminate our photographs-.
Below,
Christ lies exposed in La Cartuja de Granada - to which we thank
us for allowing us to disseminate our photography. The artists took
great care to present the anatomy and body of the dead Christ with
great realism, as in other saints, such as the San Jerome.
Down:
Golgotha and Piedad by Gregorio Fernández; set exhibited in the
Museum of Sculpture San Gregorio (Valladolid) -to which we thank
allows us to spread our photographs-. Both thieves and the reclining
Jesus are barely covered with a small cloth. The work constitutes a
true anatomical study, where male beauty is exalted. In pieces like
this we can understand the idea that God is beauty.
.
.
In
pictures: Two sculptures that represent San Sebastián. To
the side, a popular figure of the eighteenth century exhibited in
the church of Mucientes -to which we thank allows us to disseminate
our photographs-.
Below,
the famous San Sebastián de Alonso de Berruguete, owned by the
Museum of San Gregorio (National Sculpture of Valladolid) -to which
we thank allows us to disseminate our photographs-. This Saint became
from the Renaissance the icon of male beauty, being sculpted or
painted by all those artists who were especially attracted to the
body of man.
In
pictures: On the side, a popular San Sebastián
exposed in the main church of Berzocana (Cáceres) -to which we thank
allows us to disseminate our photography-. Below, another
popular sculpture that represents this saint, which was considered an
icon of beauty; In this case, property of the convent of Las Claras
in Astudillo (Palencia) - to which we thank us, allows us to
disseminate our photography.
In
pictures: Two drawings of mine from Florence and its
monuments. City where we clearly understand that God is beauty, or
that beauty is God.
E)
Is God happiness ?:
Happiness,
from the earliest times, was identified with joy, with fun and even
with laughter. We currently have a more complex concept of what it is
to be happy - born of new social and psychological values; but people
once were simpler, not to say god. Thus, for them, happiness was to
share life with loved ones, have fun and enjoy worldly pleasures. For
this reason, some of the happiest moments of our predecessors, were
those that were spent during the festivities, on dates such as
Christmas and Easter, or at weddings, baptisms and communions. All of
them, religious celebrations; because in the past religion organized
and starred in most of leisure, fun and the playful world. Something
that today has been left to the protagonists of the show, the scene
and the media …
Only
this playful sense of religion has been preserved in some towns and
areas of great manners, such as Castilla or Andalusia. Constituting
the festivities, Christmas or Easter, the best moments of fun for
many families. But generally, it has been substituted to go to dance
to the saint, by the weekly disco dances; or enjoy religious
celebrations, for going on a trip and to the beach. Obviously, a part
of responsibility lies in the uprooting and lack of education that
the new education promotes. But this loss of prominence of religion
in the world of leisure and fun; It is mainly due to the current
mentality of the clergy (born after Vatican II). Those who believe
that promoting festivals and traditions is alien to the new concept
of theology; thinking that it is a simple folklorism, conservative
and unnecessary. This implies that the boys need to look for their
“spreading” only in the disco, in the pool and even in insane
activities such as the street bottle - let's not talk about drugs
anymore. Something that perhaps would change if religion continued to
promote and sponsor large parties; as is happening with the recovery
of masquerades, in which grandparents, parents and children, have fun
together. Or as is still the case in Andalusia; where there is beach
and nightclub leisure, but there is also a deep playful feeling
attached to the religious - held in celebrations such as Holy Week or
El Rocío.
Thus,
it seems clear that God should be happiness, and therefore religion
should promote laughter, parties and even revelry. Organize and
control them, so that they are of true joy and not insane acts, where
depravity is reached (as is currently the case in the amusements of
many young people). He did so in all cultures and it happened
throughout history; from Egypt to Rome and from Rome to us, passing
through China or Japan. Where the festivities always related to
sacred dates, with gods or with venerated places. All loaded with
boato and good taste; with spectacular ceremonies and entertaining
saraos, where people had a great time. But today the Church has lost
that playful nature; coming to renounce the traditional and having
turned the masses into something as boring, as inconsistent (with
mediocre, absurd and politicized preaching ...). In a very different
way, hundreds of years ago, cathedrals and churches were where the
most intelligent spoke, played music and sang the most trained,
interpreting the latest creations in them. Everything, surrounded by
the best works of art and decorated with a spectacular liturgy; in a
theatrical environment, just comparable to what Hollywood did in the
movies.
It
seems that my previous paragraph is a simple apology of religious
hedonism; But this is not the case, because cathedrals and beautiful
churches were built as large companies. Companies that brought money
and visitors to the cities, the town or the neighborhood that raised
them; making merchants and curious come from far away places, to
listen to the masses there and appreciate their art - as young people
go to rock festivals today. In this sense the cathedrals were built
and cities like Florence were made, so that the memory of the most
beautiful endured and in order to attract tourism and money. All that
is still achieved, after more than five hundred years ago, people
paid with their pockets those constructions and those majestic
buildings. But today the Church has abandoned the playful and
theatrical aspect of religion, leaving the temples (which were made
for that purpose) empty and unused. Because humanity -in general-,
what he likes is the show; Be it football, music or fantasy.
Consequently, it will be easy to see that the serious problem of
current Catholicism is that it has abandoned this artistic and
spectacular world that dominated centuries ago. But above all, it has
relegated aspects such as humor or parties to the background; falling
into the most boring of theological concepts - where to reach God,
you have to live in a valley of tears.
Quite
the contrary, the priests of the Middle Ages preached with laughter,
promoted sex and even decorated their temples with the most obscene
images. All this to capitalize on leisure and direct it towards
meetings they organized. Without dropping in depravity those acts so
common to all Humanity, such as: Have fun, get drunk, copulate,
sexually attracted and meet to laugh or dance. This is how the Church
instituted Christmas for the terrible Roman Saturnals (where it was
allowed to commit sexual crimes); also converting the March Idus -
with the bloody celebrations of Attis or Cibeles - in Holy Week. In
the same way, in a process of syncresis, he changed the Celtic and
Latin gods, who came to sacrifice humans; by Christian saints who
celebrated their festivities with the slaughter of the pig, the
bullfights or the enclosures. Directing fun for good and promoting
laughter, leisure and healthy sexuality - without repressing it, as
was done since the 18th century. Although the inculta, puritanas
societies and especially the nineteenth century; they saw only badly
in these paleochristian syncresis and in those medieval clerics.
Monks who allowed sexuality and humor within the church or who wrote
books such as "Good Love" (of the Archpriest of Hita);
while they preached with jokes and before obscene figures, to rejoice
the people and bring them closer to their religion.
.
In
pictures: Two images of the Romanesque and erotic Gothic.
To the side, two naked strange beings, embrace under a column
and next to a naked woman; figures of the cloister of the cathedral
of Ciudad Rodrigo -to which we thank allows us to disseminate our
photographs-.
Below,
erotic representations of the Cervatos collegiate church, in
Cantabria. Let's look at the strange figures that are everywhere in
this church, with italic characters, copulating or showing vulva.
In
pictures: Romanesque sculptures with obscene character. On
the side, window of the Cervatos church in Cantabria; there a
woman is exposed teaching the vulva. Images like this were a symbol
of fertility and happiness at the time. For those who wish to know
more, we recommend reading my studies on the subject, which I collect
by appointment (1). Below,
another Romanesque capital with obscene representation, in this case
the so-called "punishment for lust." To those interested in
the subject, we recommend reading my articles that I collect by
appointment (2).
.
In
pictures: Frieze of the collegiate church of Cervatos in
Cantabria, where people copulate are observed. To know more, we
recommend reading my book "HIGA, HIGO, LIVER AND GARLIC (magic,
religion and medicine)" The body in tradition ", Valladolid
2007 (ed. Joaquin Diaz Foundation - and my studies on the subject,
which I collect in appointment (1)
-.
.
.
In
pictures: Choir and mercy in the cathedral of Plasencia
-to which we thank allows us to disseminate our photographs-. On
the side, image of the choir and the mercies of this enclosure.
These “mercies were pieces that stood out under the chairs or
chairs, so that the clergymen supported the back there, being able to
rest on them (pretending to be standing). The last, in the background
in image; It contains a "bullfighter" killing the morlaco
rapier.
Below,
a replica of one of the mercies, which depicts a woman whipping a
monk ... The scenes of fornicating monkeys and people in strange
positions follow each other in the choir stalls. Its meaning is
linked to that of fun in churches and laughter during the liturgy.
.
In
pictures: Two photographs of the entrance to the cathedral
of Plasencia, in its Romanesque area. In them we observe characters
with obscene postures and showing sex.
In
pictures: Two photographs of Extremoz, Portugal. To the
side, strange character that appears in his tower; a gargoyle
with a monk and a pumpkin placed in such a way, that it seems to be
masturbating.
Below,
square where the convent tower is located in which we will see that
rare gargoyle that makes everyone laugh.
In
pictures: Two more images with strange figures, belonging
to the cloister of the cathedral of Ciudad Rodrigo - to which we
thank us for allowing us to disseminate our photographs.
In
pictures: On the side, again obscene figures at the
entrance of the Cathedral of Plasencia.
Below,
fountain next to a church of Alanis (next town Cazalla de la Sierra
in Seville). In it we see a cross and a gargoyle from whose genital
area the jet of water comes out ....
In
pictures: Two “misericordias” of the Cathedral of Leon
- to which we are grateful, allow us to disseminate our photographs.
In
pictures: Two misericordias of the Cathedral of Leon - to
which we are grateful, allow us to disseminate our photographs. These
strange figures placed in the place where the clergy supported their
buttocks to rest, show the humor of those who made them and those who
sent them to carve.
In
pictures: Two “miseriordias” of the Cathedral of Leon
- to which we are grateful, allow us to disseminate our photographs.
In
pictures: Two “misericordias” of the Cathedral of Leon
- to which we are grateful, allow us to disseminate our photographs.
In
pictures: Two “misericordias” of the Cathedral of Leon
- to which we are grateful, allow us to disseminate our photographs.
In
pictures: Down, strange misericordia of the
monastery of Celanova that represents a lavatory. -to which we thank
allows us to disseminate our photographs-.
.
.
In
pictures: Two images of a gothic sculpture that represents
Mass of San Gregorio, property of the Museum of the Fairs, in Medina
del Campo (Valladolid) -to which we thank allows us to divulge our
photographs-. Let's look below at the detail of the cleric
with “glasses” that appears in the scene as the “chantre” of
the mass.
Above:
Curious image of Fray Junípero Serra, cutting the leg of a pig -
perhaps to do the slaughter -, which is preserved as fresh in the
Franciscan convent of Palma del Río - currently San Francisco lodge
and to which we thank Let us spread our picture. In this convent Fray
Junípero resided for a long time and numerous clergymen from there
traveled with him to start missions in California. They founded the
city of San Francisco, in memory of this convent, from which the
first monks who emigrated to America with Fray Junipero came.
Nevertheless, in the Franciscan church of Palma del Río, the
venerable monk is still remembered catching a pig to cut off a leg.
Perhaps because the friar liked the ham of the area, very close to
Jabugo ...
.
.
F)
Is God a stranger ?:
It
is very important to understand that for modern man God has become a
being outside his daily life. So much that it has become a
"stranger", of which nothing is known and that is usually
interpreted as a symbol. A historical, religious, philosophical or
ceremonial image; but always something conceived as an alien and even
unnecessary fact in our Society today. All this is understood when we
visit a sacred site and attend for a moment to the comments of other
people who accompany us. Inside the temples, I have seen some say
that they go from "experts" to the subject, that all Gothic
sculptures are made of cast and plaster. Or, that tombs like the
Romanesque ones, were made with a very simple technique and similar
to the wax statues: Placing on the deceased a great mask that covered
him completely and then transferring it to a plaster cast .... It
goes without saying that plaster and plaster are materials used by
Islamic architecture, or Mudejar and that in some cases it is used in
the Baroque - but it was rarely used in the Renaissance, except in
the Gothic and never among Romanesque.
Be
that as it may, it impresses sometimes what is heard of those who
visit temples with us; getting to hear repeatedly that the
"incrustations" on the walls, are an Arab invention. Or
that Romanesque architecture and art were the ones that Rome carried
out in its Christian phase; At the end of his days. In the same way,
I have seen a long time ago explain to an “expert”, before the
chapel of the Marquises of Herrera (Gothic Mudejar, in San Martín de
Segovia); that there began herreriano art, of it his name. Other
comments heard while visiting a church or monument, such as the one I
witnessed when a Spaniard taught his crush the Alhambra, are not
wasted, explaining that this building was so beautiful because it is
not Arabic, but that its style was the Mozarabic - keeping her
dumbfounded of what her boyfriend knew. On this subject it is
noteworthy that in TV documentaries in Japan; Sometimes there is talk
of "Mudejar art", to refer to the Andalusian Islamic.
Although I believe that everything I narrate was surpassed by a
father I saw in Seville while answering his children, when they asked
him about the phases of the Gothic; rigorously affirming the parent,
which were three: "The Visigothic, the middle Gothic and the
final Gothic." Not lagging behind the numerous cases in which,
while entering a sacristy; we will see countless tourists who call it
"toilet", "bathroom" or "wardrobe" of
the priest.
Also
noteworthy are the names they assign to the figures and iconographies
imagined by those "aware" who guide those who follow them
as sheep. Being common that the San Antonio with child, end up
interpreted as a San José put to monk; while the half-naked and
ecstatic cupcakes are explained as goddesses Venus (although they
have the rosary and the cross in their hands). Another constant is
that any representation of a saint - be it San Francisco de Borja, of
Assisi, of Sales or Javier -, is explained as that of “a monk who
was then very famous and friend of the painter”. Although the most
interesting is when the "officiating guide" is esoteric;
seeing everywhere templar and Cathars symbols. Moment in which we can
listen as the crosses of Alcantara, Calatrava or Santiago; They all
belong to mystical orders. Coming to assert himself before an oil
canvas portrait of a gentleman dressed in uniform, who was the head
of the Templars of the time. So, to finish this article, we are going
to show some images of these strange things we encounter in the
churches.
.
In
pictures: Beside, curious library-office open in a
side tomb, inside the church of Santiago (next to the Plaza Mayor of
Salamanca) -to which we thank allows us to disseminate our
photography-. Let's look at the plug that has also been located in
the middle of the cenotaph; perhaps with the intention of taking
energy from the "beyond" ... Below, interesting
beggar of the greater church of Ponferrada, where it is observed that
these lions are very organized. Well, the gifts are perfectly
separated, according to tastes and saints. Being able to give money
to La Sagrada Familia, Santa Teresa, Santa Teresita or San Pío X and
many others; without fear that our offering will go to those who do
not like us (or to those we consider little miracle workers).
.
Down:
Famous outdoor thermometer exposed in a beautiful Villalpando store,
used to predict the weather. Its operation is based on a gut string,
similar to those used by musical instruments - like the guitar. It
tenses or loosens, due to dryness and cold; So the monk whose hand is
held by this rope marks the different times: Windy, rainy, hot etc.
In
pictures: Organ of the church of Chapels (Palencia) -to
which we thank allows us to divulge our photography-.
In
pictures: Two images in which we see what was found inside
the machinery and the pipes, when restoring the organ of the
aforementioned church of Capillas (Palencia) -to which we thank
allows us to divulge our photograph-. In the photo below we have the
remains of a dove, a rat and various eggs; all appeared inside the
organ. It is assumed that these animals fell into the tubes and that
other birds laid the eggs there; although some think that they were
brought by a meloncillo or another vermin, that after leaving them
fled and forgot them. Beside a picture where the restorer of
the musical instrument describes this discovery of contemporary
remains to the organ.
In
pictures: Two curious photos taken by me. To the side,
outside of an Astorga shop where canes are sold for the Camino de
Santiago; in his shop window we see the archbishop's palace of Gaudí
reflected. Below, a bell moved in a church in Molina de
Aragón. It is held by cables, but they barely look and it seems to
fly.
In
pictures: Two images of the interior of the church of San
Isidro in León - to which we thank us allow us to disseminate our
photographs. Next, bench where strange symbols are observed.
Below, the maze sign carved on these stone benches. Its
meaning seems to be related to that of the Jacobean Route
In
pictures: Two images of the cloister of the cathedral of
El Burgo de Osma (Soria) - to which we thank us for allowing us to
disseminate our photographs. . In this place and in front of the
wonderful Romanesque tomb of San Pedro de Osma, it was where I heard
an "expert" explain to his family how those plaster "dolls"
were made - as he called them -. Affirming that the Romanesque
statuary was all plaster and made with molds ... Although it seems
incredible, I have heard very similar barbarities in other temples;
where parents and grandparents explain to their families how those
cathedrals were made, in plaster and in the manner of the wax museum
statues. In pictures, a huge staircase of the Osma Cathedral, which
must be the one needed to climb to heaven.
.
In
pictures: To the side, inside a church in Tamara de
Campos (Palencia) with folkloric goods -to which we appreciate allows
us to spread our picture-.
Below,
propping up the entrance to a Mudejar convent in Alcalá de Henares.
On
the side: Curious statue in homage to a sacristan of
Cambados; portrait that leaves much to be desired (no matter how
graceful the sacristan was).
.
In
pictures: Two images taken in Santibañez de la Sierra
(Salamanca) where we see his church and some houses very nicely
decorated for Christmas.
In
pictures: Two images of the streets of Seville during Holy
Week; The grace of photography was that the Nazarenes had to lower
the hood, to access their brotherhood through a very short door. When
we were collecting this fact, the guards and people surrounding the
entrance prevented us from photographing it (feeling outraged),
without understanding that it was something fun and unimportant. A
curiosity that we simply wanted to keep in our memory, as a pleasant
anecdote of Seville's Holy Week.
In
pictures: Two curious images. Next, the remains of
a saint or Virgin, to be dressed; as they are shown in the church of
Mucientes (Valladolid) - to which we are grateful to allow us to
disseminate our photography.
Below,
the sculpture of a famous friar from Viana do Castelo (Portugal)
only comparable in its ugliness to that of the sacristan of Combados,
which we had seen before.
.
FINAL:
"THE IBERIA OF ANGEL AND CHIHO":
Almost
three decades ago, I married Chiho; and from the first years we had
to travel Spain and Portugal. We traveled for work reasons and
interested in the study of our culture; making hundreds of thousands
of kilometers and visiting every place we reached. Our goal was to
promote products, to publicize Spain in Japan, or to study every
corner of the Peninsula (to understand our civilization). But when we
had a large archive, with which we could publish works, there was a
disaster: A flood in Madrid on June 23, 1995 affected our office,
destroying the photos and documentation we had accumulated until
then. That terrible flood also took my studies and everything I had
written up to those days (including recordings and compositions).
Because of this, of those first trips of ours, there were hardly any
photos left. Finally, a few years after the disaster that struck our
archive, the digital system appeared. With this new technology, we
returned to photograph our routes through Iberia, thus redoing this
work of study and compilation, which today we are disseminating.
.
In
pictures: Two photographs of our wedding, taken about
thirty years ago by the businessman and photographer: Roy Uéhara.
.....................................................................................................
APPOINTMENTS:
(1) : A los interesados en el tema recomendamos leer
mi libro"HIGA, HIGO, HÍGADO Y AOJO (magia, religión y medicina) "El cuerpo en la tradición", Valladolid 2007 (ed. fundación Joaquín Díaz). -
y mis artículos:
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXIV). COMIENZA AQUÍ UN ANÁLISIS SIMBÓLICO DE LAS JOYAS; con sentido mágico hasta nuestros días. VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-8-9.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS": CONTINUACIÓN. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXV). -SIGNIFICADO APOTROPAICO DE LOS ABALORIOS Y COLGANTES QUE SE USABAN Y AÚN UTILIZAMOS PARA COMBATIR EL MAL FARIO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-7.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". CONTINUACIÓN: Pater Libero (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVI). -SENTIDO SEXUAL DE LAS JOYAS QUE PROTEGEN, SU RELACIÓN CON EL MAL DE OJO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". CONTINUACIÓN: Fascinus (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVII). -PROTEGERSE DE LA MIRADA Y DE LOS MALES SOCIALES A TRAVÉS DE LAS JOYAS CON FORMAS OBSCENAS; LA SUERTE UNIDA A UN COLGANTE QUE EVITABA LAS MALAS MIRADAS- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-7-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: El Ojo "cónico o en bola" -"alcorciles y bollas"-. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVIII).-VAMOS DESCUBRIENDO EL MUNDO DE LAS JOYAS EN FORMA DE BULLA O ESFERAS, RELACIONADAS CON EL OJO Y SUS MALES- VER: http://loinvisibleenelarte.blogspot.com.es/2011/10/1.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Permanencia del arte egipcio en el mundo ibérico. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXIX). -DEMOSTRACIÓN DE LA PERVIVENCIA DE MODELOS Y SIGNIFICADOS DE TALISMANES Y COLGANTES DURANTE CINCO MIL AÑOS- VER: http://loinvisibleenelarte.blogspot.com.es/2011/10/1-8-9.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Dioses de la Fertilidad; Min o Minu egipcio. -RELACIÓN DEL SEXO Y LAS ENFERMEDADES VENÉREAS CON EL MAL DE OJO, SU PLASMACIÓN EN LAS JOYAS QUE LO EVITAN- (de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXX). VER: http://loinvisibleenelarte.blogspot.com.es/2011/11/1-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Dioses de la Fecundidad y su posible significado calendárico -de Egipto a Japón-. -VEMOS LA RELACIÓN PLANETARIA DE LA SEXUALIDAD Y SU CONEXIÓN DIRECTA SOBRE EL OJO Y SUS MALES, PLASMADO EN LOS DIOSES DE LA LUZ-(de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXXI). VER: http://loinvisibleenelarte.blogspot.com.es/2011/11/1-9.html
- Dioses de la fertilidad, de la luz, del Sol y del oro; diosas del agua, de la Luna y la plata. (de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXXII). -MÁS SOBRE EL SIGNIFICADO DE LA SEXUALIDAD Y LA LUZ, TODO ELLO UNIDO A LOS TALISMANES Y JOYAS QUE ALEJABAN EL MAL DE LAS TINIEBLAS; EL AOJO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/12/1-6.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS": CONTINUACIÓN. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXV). -SIGNIFICADO APOTROPAICO DE LOS ABALORIOS Y COLGANTES QUE SE USABAN Y AÚN UTILIZAMOS PARA COMBATIR EL MAL FARIO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-7.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". CONTINUACIÓN: Pater Libero (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVI). -SENTIDO SEXUAL DE LAS JOYAS QUE PROTEGEN, SU RELACIÓN CON EL MAL DE OJO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". CONTINUACIÓN: Fascinus (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVII). -PROTEGERSE DE LA MIRADA Y DE LOS MALES SOCIALES A TRAVÉS DE LAS JOYAS CON FORMAS OBSCENAS; LA SUERTE UNIDA A UN COLGANTE QUE EVITABA LAS MALAS MIRADAS- VER: http://loinvisibleenelarte.blogspot.com.es/2011/09/1-7-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: El Ojo "cónico o en bola" -"alcorciles y bollas"-. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXVIII).-VAMOS DESCUBRIENDO EL MUNDO DE LAS JOYAS EN FORMA DE BULLA O ESFERAS, RELACIONADAS CON EL OJO Y SUS MALES- VER: http://loinvisibleenelarte.blogspot.com.es/2011/10/1.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Permanencia del arte egipcio en el mundo ibérico. (Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXIX). -DEMOSTRACIÓN DE LA PERVIVENCIA DE MODELOS Y SIGNIFICADOS DE TALISMANES Y COLGANTES DURANTE CINCO MIL AÑOS- VER: http://loinvisibleenelarte.blogspot.com.es/2011/10/1-8-9.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Dioses de la Fertilidad; Min o Minu egipcio. -RELACIÓN DEL SEXO Y LAS ENFERMEDADES VENÉREAS CON EL MAL DE OJO, SU PLASMACIÓN EN LAS JOYAS QUE LO EVITAN- (de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXX). VER: http://loinvisibleenelarte.blogspot.com.es/2011/11/1-8.html
- DE FALOS, JOYAS Y OTRAS... "BOLLAS". Continuación: Dioses de la Fecundidad y su posible significado calendárico -de Egipto a Japón-. -VEMOS LA RELACIÓN PLANETARIA DE LA SEXUALIDAD Y SU CONEXIÓN DIRECTA SOBRE EL OJO Y SUS MALES, PLASMADO EN LOS DIOSES DE LA LUZ-(de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXXI). VER: http://loinvisibleenelarte.blogspot.com.es/2011/11/1-9.html
- Dioses de la fertilidad, de la luz, del Sol y del oro; diosas del agua, de la Luna y la plata. (de Lo invisible en la mitología: Los bueyes de Gerión en el tesoro de El Carambolo. Parte XXXII). -MÁS SOBRE EL SIGNIFICADO DE LA SEXUALIDAD Y LA LUZ, TODO ELLO UNIDO A LOS TALISMANES Y JOYAS QUE ALEJABAN EL MAL DE LAS TINIEBLAS; EL AOJO- VER: http://loinvisibleenelarte.blogspot.com.es/2011/12/1-6.html
(2) : A los interesados en el tema recomendamos leer mis artículos:
- LO INVISIBLE EN LA ICONOGRAFÍA: La Lujuria, en la Catedral de Huesca (I) (análisis de esta figura y del significado de la estatuaria gótica).-COMIENZA AQUÍ UNA SERIE DE ENTRADAS EN LAS QUE ANALIZAMOS UNA EXTRAÑA FIGURA DE LA PORTADA DE LA CATEDRAL DE HUESCA QUE SE TIENE POR LA LUJURIA, AUNQUE LLEGAMOS A LA CONCLUSIÓN DE QUE ES LA PESTE; ALGO QUE TAMBIÉN PUEDE FECHAR ESTA FACHADA EN LA ÉPOCA DE LA MAYOR EXTENSIÓN DE AQUELLA EPIDEMIA (A FINES DEL SIGLO XIV Y COMIENZOS DEL XV)- VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/1.html
- LO INVISIBLE EN LA ICONOGRAFIA: "La Lujuria", en la catedral de Huesca (II). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-iconografia-la.html
- LO INVISIBLE EN LA ICONOGRAFÍA: ¿La Lujuria, o La Peste... En la catedral de Huesca? (III). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-oconografia.html
- LO INVISIBLE EN LA ICONOGRAFÍA: "Castigo a La Peste", como imagen de "la muerte vencida" en la Catedral de Huesca (Parte Primera). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/1a-2.html
- LO INVISIBLE EN LA ICONOGRAFÍA: "Castigo a La Peste", como imagen de "la muerte vencida" en la Catedral de Huesca (Parte Segunda). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-iconografia-castigo.html
- LO INVISIBLE EN LA ICONOGRAFIA: "La Lujuria", en la catedral de Huesca (II). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-iconografia-la.html
- LO INVISIBLE EN LA ICONOGRAFÍA: ¿La Lujuria, o La Peste... En la catedral de Huesca? (III). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-oconografia.html
- LO INVISIBLE EN LA ICONOGRAFÍA: "Castigo a La Peste", como imagen de "la muerte vencida" en la Catedral de Huesca (Parte Primera). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/1a-2.html
- LO INVISIBLE EN LA ICONOGRAFÍA: "Castigo a La Peste", como imagen de "la muerte vencida" en la Catedral de Huesca (Parte Segunda). VER: http://loinvisibleenelarte.blogspot.com.es/2011/05/lo-invisible-en-la-iconografia-castigo.html
