modelos didácticos na pintura portuguesa do renscimento

Tese de mestrado em Teorias da Arte, apresentada à Universidade de Lisboa através da Faculdade de Belas Artes, 2006The use of images was wide argued since the beginning of Christianity until the Ecumenical Council of Trent, between 1545 and 1563. The image is a formal configuration of an idea, this is, the thought of one culture. The knowledge that characterizes this culture is the same that determines the artistic expression in witch image results. It is the limes limited by time and space of a culture that characterizes the artistic time and space. However, by the long time and space of Universal History we can realize that image is in common with an idea of communication through one language expressed by signs and symbols. In Occidental Art, since the Classic Antiquity, the image looks to establish, through examples of vice and virtue of its tradition, a normalization of social behaviors in accordance with the moral principles stipulated by these cultures. The Christian Art, witch is born of a greco-roman tradition, pursues, necessarily, the same intentions. Since the VI century, the devotion of God and basically,the diffusion of one elaborated process of Salvation through a celestial hierarchy and a Beyond geography that include Purgatory and Hell, became essential an organization of a didatic plan that guarantee Salvation. Since there that image, like spiritual literature, that includes confection manuals, the exempla, the liturgical texts, the laudas, has been the way that Church found to guide its flock to Salvation. The exemplary lives of Mary; Jesus and the Saints served of example of devotion to God and preservation of Faith, which bad to be taken by its followers. The narratives of Sacred History gained visibility through image, and through them, its worshipers could memorize facts, lives and passions, as well as gather the invisible things that they represent as the way to build and to inflame its spirit. In this dissertation we approach the subjects of the Virgin Life, the Lives of Saints and the Apocalyptic Vision, represented Portuguese Renaissence painting, where are also represented the didactic models that these subjects inspir