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Dress carving or capipota of the Virgen Dolorosa. Andalusia, 19th century.Carved and polychrome
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Description
Dress carving or capipota of the Virgen Dolorosa. Andalusia, 19th century.
Carved and polychrome wood. Silk and velvet vestments enriched with gold thread. Face covered with tears of vitreous paste. Head with a silver halo, the same material as the heart of the daggers. In his left hand he holds a handkerchief with which he wipes his tears.
One of the daggers is missing (6 are preserved).
This work was part of the Exhibition of Small Imagery in Cordoba (1997).
Measurements: 50 x 36 x 30 cm.
Sculpture of the "Cap i Pota" (head and feet) typology which corresponds to the iconography of the Virgin of the Sorrows or the seven Sorrows, a set of events in the life of the Virgin Mary which are a popular devotion and are frequently found in art. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite Order, founded in 1233. There are many and varied iconographic representations with the central theme of the Virgin Mary in her Sorrowful aspect, particularly the theme of the Virgin of Sorrows and Solitude, which includes the present panel. In this iconography Mary is alone, sometimes with her heart pierced by swords symbolising the pains she suffered, generally seven: the prophecy of Simeon, the flight into Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age. In the sacred heart of the Virgin, made in silver, one of the daggers has been lost.
The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards.
Carved and polychrome wood. Silk and velvet vestments enriched with gold thread. Face covered with tears of vitreous paste. Head with a silver halo, the same material as the heart of the daggers. In his left hand he holds a handkerchief with which he wipes his tears.
One of the daggers is missing (6 are preserved).
This work was part of the Exhibition of Small Imagery in Cordoba (1997).
Measurements: 50 x 36 x 30 cm.
Sculpture of the "Cap i Pota" (head and feet) typology which corresponds to the iconography of the Virgin of the Sorrows or the seven Sorrows, a set of events in the life of the Virgin Mary which are a popular devotion and are frequently found in art. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite Order, founded in 1233. There are many and varied iconographic representations with the central theme of the Virgin Mary in her Sorrowful aspect, particularly the theme of the Virgin of Sorrows and Solitude, which includes the present panel. In this iconography Mary is alone, sometimes with her heart pierced by swords symbolising the pains she suffered, generally seven: the prophecy of Simeon, the flight into Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age. In the sacred heart of the Virgin, made in silver, one of the daggers has been lost.
The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards.
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Dress carving or capipota of the Virgen Dolorosa. Andalusia, 19th century.
Carved and polychrome wood. Silk and velvet vestments enriched with gold thread. Face covered with tears of vitreous paste. Head with a silver halo, the same material as the heart of the daggers. In his left hand he holds a handkerchief with which he wipes his tears.
One of the daggers is missing (6 are preserved).
This work was part of the Exhibition of Small Imagery in Cordoba (1997).
Measurements: 50 x 36 x 30 cm.
Sculpture of the "Cap i Pota" (head and feet) typology which corresponds to the iconography of the Virgin of the Sorrows or the seven Sorrows, a set of events in the life of the Virgin Mary which are a popular devotion and are frequently found in art. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite Order, founded in 1233. There are many and varied iconographic representations with the central theme of the Virgin Mary in her Sorrowful aspect, particularly the theme of the Virgin of Sorrows and Solitude, which includes the present panel. In this iconography Mary is alone, sometimes with her heart pierced by swords symbolising the pains she suffered, generally seven: the prophecy of Simeon, the flight into Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age. In the sacred heart of the Virgin, made in silver, one of the daggers has been lost.
The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards.
Carved and polychrome wood. Silk and velvet vestments enriched with gold thread. Face covered with tears of vitreous paste. Head with a silver halo, the same material as the heart of the daggers. In his left hand he holds a handkerchief with which he wipes his tears.
One of the daggers is missing (6 are preserved).
This work was part of the Exhibition of Small Imagery in Cordoba (1997).
Measurements: 50 x 36 x 30 cm.
Sculpture of the "Cap i Pota" (head and feet) typology which corresponds to the iconography of the Virgin of the Sorrows or the seven Sorrows, a set of events in the life of the Virgin Mary which are a popular devotion and are frequently found in art. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite Order, founded in 1233. There are many and varied iconographic representations with the central theme of the Virgin Mary in her Sorrowful aspect, particularly the theme of the Virgin of Sorrows and Solitude, which includes the present panel. In this iconography Mary is alone, sometimes with her heart pierced by swords symbolising the pains she suffered, generally seven: the prophecy of Simeon, the flight into Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age. In the sacred heart of the Virgin, made in silver, one of the daggers has been lost.
The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered with royal robes. These images were particularly appreciated for their naturalism, as the fact that they were dressed in real clothes gave them a greater degree of realism than those that were simply carved, which were often not of sufficient quality to achieve the degree of naturalism so sought after in religious art from the Baroque period onwards.
16th November - Decorative Arts
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