Baldaquino de Ribes (1119-1134). Museu Episcopal de Vic

            Los baldaquinos estaban colocados originariamente en el ábside de la iglesia, sobre el altar, ligeramente inclinados y sostenidos por dos vigas para poder ser contemplados desde la nave. Su función litúrgica era la de proteger y poner en relieve el ara del altar, y en determinadas celebraciones se colgaban lámparas de aceite para iluminarlo durante la noche. El estilo de este baldaquín corresponde a la corriente románica de carácter geometrizante, cuyo máximo representante fue el Maestro de Sant Climent de Taüll. 
Por su equilibrada composición formal se le considera la obra maestra de la pintura románica catalana sobre madera. La gran calidad técnica y creativa de este artista sólo se puede comparar con el autor que hizo las pinturas murales de Sant Climent de Taüll. Estilísticamente es muy próximo al frontal de altar de Esquius, conservado en el Museu Nacional d'Art de Catalunya, especialmente por la forma de dibujar las letras capitales de las inscripciones latinas. En la misma sala de arte románico del Museu Episcopal de Vic se expone el frontal de altar de Puigbò, cuyo autor parece que siguió el modelo de la imagen del Cristo pantocrátor establecido por el maestro de este baldaquín de Ribes. 
La escena representa la iconografía apocalíptica del Juicio Final, la «Parusía». La figura de este Cristo pantocrátor se representa sentada bendiciendo con la mano derecha y con el libro de los evangelios abierto con la inscripción «paz y ley». Ocho ángeles con estandartes y férulas, propias del ritual de la corte bizantina, rodean su figura, de los que sólo se han conservado tres. Las inscripciones conservadas dicen: «Quien sube hacia los astros me conduzca a la esperanza de la vida eterna»; «Luz y origen de los días». 
Si bien la tradición histórica de su ingreso en el Museu Episcopal de Vic en 1906 nos dice que proviene de Ribes no se puede tener certeza absoluta de esta procedencia.
_________
The baldachins were originally placed in the apse of the church, above the altar, slightly tilted and supported by two beams so that they could be seen from the nave. Their liturgical function was to protect and highlight the altar chandelier, and in certain celebrations oil lamps were hung to illuminate it during the night. The style of this baldachin corresponds to the Romanesque geometrical style, whose maximum representative was the Master of Sant Climent de Taüll. 
Due to its balanced formal composition it is considered the masterpiece of Catalan Romanesque painting on wood. The great technical and creative quality of this artist can only be compared to the author who made the mural paintings of Sant Climent de Taüll. Stylistically, it is very close to the altar frontal of Esquius, preserved in the Museu Nacional d'Art de Catalunya, especially for the way he draws the capital letters of the Latin inscriptions. In the same Romanesque art room of the Museu Episcopal de Vic, the altar front of Puigbò is exhibited, whose author seems to have followed the model of the image of Christ the Pantocrator established by the master of this canopy from Ribes. 
The scene represents the apocalyptic iconography of the Final Judgement, the "Parousia". The figure of this Christ Pantocrator is represented sitting blessing with his right hand and with the book of the Gospels open with the inscription "peace and law". Eight angels with banners and splints, typical of the Byzantine court ritual, surround his figure, of which only three have been preserved. The inscriptions preserved say: "Whoever climbs towards the stars will lead me to the hope of eternal life"; "Light and origin of days". 
Although the historical tradition of his entrance to the Museu Episcopal de Vic in 1906 tells us that he came from Ribes, we cannot be absolutely sure of this origin.

   

Some rights reserved

Taken on: October 6, 2019

Tags:

Museu Episcopal de Vic

Pintura

Painting

Romanesque « less

Sets appears in: • Romanesque Paintings • Museu Episcopal de Vic

Camera: Xiaomi Redmi 7, f/2.2, 1/12 sec, 3.8mm (=0mm), ISO 2000 (more info) (hide info)

Camera:	Xiaomi Redmi 7
Aperture:	f/2.2
Exposure Time:	0.083 sec (1/12)
Focal Length:	3.8mm (35mm equivalent: 0mm)
ISO:	2000
Flash:	Off, Did not fire
Exposure Program:	Not Defined
Exposure Mode:	Auto
Metering Mode:	Center-weighted average
White Balance:	Auto
Color Space:	sRGB
Software:	PaintShop Pro 18,00
Show full info

Stats: 1,830 views / 1 comment