O cristo no terceiro milênio: a visão plástica da arte sacra atual de Cláudio Pastro
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Data
2007-06-18
Autores
Torres, Marília Marcondes de Moraes Sarmento e Lima [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho mostra a evolução da arte cristã através dos séculos, notadamente das representações da face de Cristo, passando por alguns movimentos da arte na Europa e pelo barroco aqui no Brasil. A representação pictórica de Jesus surgiu no início da era cristã, junto às catacumbas romanas, ainda influenciada pela arte realizada na antiguidade grego-romana. A preocupação dos artistas de então era somente com os ensinamentos da nova religião que estava surgindo e não com a arte em si. Com o decorrer dos séculos, essa arte passou por diversas modificações. Entretanto, a face de Cristo com o rosto oval, nariz afilado, olhos amendoados e barba bifurcada, que cohecemos e que se mantém até hoje, é baseada no Mandilion de Edessa, imagem aquiropita (do grego, não feita por mãos humanas) que se tornou o modelo de representação para os artistas do período bizantino. O artista Cláudio Pastro, convidado pelo Vaticano para produzir a obra O Cristo Evangelizador do Terceiro Milenio, nascido em São Paulo, não se deixa influenciar pela arte barroca, mais marcante do povo brasileiro, mas segue o que pede o Concílio Vaticano II, isto é, um retorno às fontes. Pastro vai buscar essa maneira de representar Jesus no periódo da arte realizada em Bizâncio. Jesus é, então, representado como o Pantocrátor, o soberano que tudo vê e tudo rege, o legislador do Universo - o Cristo Vitorioso. Não se preocupa com a perspectiva, usa a frontalidade, a obra é repleta de símbolos usados em diversos tipos de cultura e estes foram analisados para o melhor entendimento de como a obra foi concebida e realizada. Os símbolos usados são o círculo, o quadrado, o ouro, a madeira, as cores, os gestos e as incisas. A obra, encomendada pela Sé Romana para as comemorações do Jubileu do ano 2000, encontrea-se no Vaticano.
This work reports the evolution of the centuries - notably of the representations of the face of christ - throughout some art movements in Europe and the baroque in Brazil. The pictorial representation of Jesus appeared at the Roman catacombs in the beginning of the Christian era, yet influenced by the ancient greek-roman art. The artist concern at that time was mostly to teach concepts of the newly founded religion and not the art itself. Over the centuries this art suffered many modifications. However, the face of Christ with the oval shape, straight nose, almond eyes and divided beard, that we know and remains until today, is based on the Mandilion of Edessa, an acheiropoieta image (the greek not made by human hands) that became the model the artists of the byzantine period. The artist Cláudio Pastro - invited by the Vatican to produce the workmanship the Christ Evangelizador of the Third Millenium- born in São Paulo, is not influence by the baroque art, well known by the Brazilian people, but follows the deamands of II Vatican Council, that is a return to the origins. Pastro searches inspiration to represent Jesus in the period of the christuan art in the early Byzantium. Jesus was then represented as the Pantocrátor, the sovereign that see everything and rules over all, the legislator of the Universe - the Victorious Christ. Pastro in not concerned about the perspective and uses the frontality. This work of art is full of symbols common to different cultures which were analyzed for better comprehension of how this piece was conceived and accomplished. The used symbols are the circle, the square, the gold, the wood, the colors, the gestures and incisions. The workmanship, ordered for the Roman See for the celebration of the Jubilee of the year 2000 Jubilee - is exposed inside the Vatican.
This work reports the evolution of the centuries - notably of the representations of the face of christ - throughout some art movements in Europe and the baroque in Brazil. The pictorial representation of Jesus appeared at the Roman catacombs in the beginning of the Christian era, yet influenced by the ancient greek-roman art. The artist concern at that time was mostly to teach concepts of the newly founded religion and not the art itself. Over the centuries this art suffered many modifications. However, the face of Christ with the oval shape, straight nose, almond eyes and divided beard, that we know and remains until today, is based on the Mandilion of Edessa, an acheiropoieta image (the greek not made by human hands) that became the model the artists of the byzantine period. The artist Cláudio Pastro - invited by the Vatican to produce the workmanship the Christ Evangelizador of the Third Millenium- born in São Paulo, is not influence by the baroque art, well known by the Brazilian people, but follows the deamands of II Vatican Council, that is a return to the origins. Pastro searches inspiration to represent Jesus in the period of the christuan art in the early Byzantium. Jesus was then represented as the Pantocrátor, the sovereign that see everything and rules over all, the legislator of the Universe - the Victorious Christ. Pastro in not concerned about the perspective and uses the frontality. This work of art is full of symbols common to different cultures which were analyzed for better comprehension of how this piece was conceived and accomplished. The used symbols are the circle, the square, the gold, the wood, the colors, the gestures and incisions. The workmanship, ordered for the Roman See for the celebration of the Jubilee of the year 2000 Jubilee - is exposed inside the Vatican.
Descrição
Palavras-chave
Pastro, Claúdio, 1948 - Crítica e interpretação, Arte sacra, Artes plasticas, Lingüística e Artes
Como citar
TORRES, Marília Marcondes de Moraes Sarmento e Lima. O cristo no terceiro milênio: a visão plástica da arte sacra atual de Cláudio Pastro. 2007. 228 f. Dissertação (mestrado) - Universidade Estadual Paulista. Instituto de Artes, campus de São Paulo, 2007.