Romanic sculpture:
It is subordinated to architecture, which determines the places and spaces that must be covered with reliefs or statues, as in the porches of the entrance and in the capital’s capitals (place of retirement of the religious).
The pilgrimage to the Cathedral of Santiago de Compostela encourages an increase in the production of sculpture. Under the organization of the order known as “The Order of Cluny”, they were carried out in the places of Paso Construcciones in order to welcome the pilgrims on their way to the cathedral and also to show the religious relics that contributed to exalting the religious fervor.
In the northern part of Europe there is an increase in the use of sculpture applied to architecture.
These images are mostly made of polychrome wood that was sometimes covered with metals such as bronze or silver.
The sculpture although not as outstanding as Romanesque architecture applies the same codes and applications of service to the religion that is last and therefore use elements of the Roman northern, elements of the Byzantine and the Persians as well as the Arabs, of the latter a great influence can be seen.
Romanesque sculpture between the XI and XII centuries mimics artificial models by establishing a particular decoration routine with arrangements of artificial elements.
A derivation occurs in the representation of designs around the thirteenth century that can be called as a transition stage to the Gothic period; in which the reality of nature is imitated in a certain way, permeating the sculptures with greater dynamism but in which the artist does not yet separate from the previous schemes and codes of decoration.
The amalgam resulting from this transition produces very good works but others without any artistic value even in the same region. At this transitive era The rigidity of the figures as well as the symmetry and exaggeration of the straight and vertical line winning exquisiteness, realism and movement is lost. The element of representing abundant, small and narrow folds in clothing is distinguished.
General characteristics of Romanesque sculpture.
- Non -artistic didactic purpose; (publicize the faithful the figures and sacred truths for the Church and that will contribute to religious instruction).
- Stylization and disproportion since the figures do not keep the natural proportions.
- The proper perspective is not kept, nor is there a logical relationship of sizes in relation to the depth to which the figures are.
- In reliefs, the difference in size means the importance of the character.
- Symmetric composition; The scenes are composed, observing this principle of proportion.
- In the eardrums, the composition always has the figure of Christ as an axis.
- Some rigidity of forms.
- There is a lack of adequate expression in the figures or sometimes it is very exaggerated.
- Oblivion of the sculptural canon in the human form.
- Imposed symmetry in the folding of the cloths that resembles that of the Greek archaic period.
- Repetition and monotony occurs in the elements of the scene that is represented.
- Tosquedad can be seen in the execution of the work.
- They frequently adopt the theme of flora and represent it stylized; while the fauna sometimes represents it monstrous.
- The so -called isocephaly is presented in which the heads are all represented at the same height in some set figures.
- Marked polychromy with bright colors when performed in materials that allowed it.
Among the representations of biblical scenes found in many of these Romanesque buildings we find the so -called “bestiaries” as well as personifications of the zodiac signs.
A prominent element in the Romanesque sculpture in the stature of peculiar ivory, crucifixes made both in ivory and in bronze and also of statues in which the Virgin Mary is represented.
The decoration of cofrecinos for jewels and reliquaries shows great mastery in the finish, detailed care of the handling of the figures against the background as well as the location of these adapting them very well to the shape of the Embase.
Three fundamental schools stand out in the elaboration of Romanesque sculptures:
– The Irish and Anglo -Saxon school. Since the seventh century. (Intertwined and calligraphic ornaments) elongated figures.
– The German school. Since the ninth century. With the impulse of Carlo Magno to the arts. (Bronze and Byzantinism works with a classical tendency).
– The Italian school. From the end of the eleventh century to the mid -twelfth century (Byzantine italus that was guided by the Constantinople models. (Bronze doors with reliefs in several cathedrals.
– The French school. From twelfth century. With 6 outstanding schools: that of the island of France, that of Normandy, that of Paitou and Saintonge, that of Auvemia, that of Toulouse and Languedoc, that of Provence and that of Burgundy.