Abstract: This article studies one aspect of the Cuban republican tradition, exploring how republican ideas were appropriated and recreated in the context of the War of Independence and through which symbols Cuban actors elaborated their own ideas regarding this political current. It concentrates on an analysis of iconography, a body of sources that has been little studied in the Cuban historiography. It identifies ambiguities and tensions that influenced the independence process, suggesting how ideas regarding independence and the republic were produced “from below” in Cuba. This article thus contributes to restoring the place of republicanism as a central tradition of Cuban political history, not as an echo of projects from abroad, but as the result of grassroots political production.

Resumen: Este texto estudia un aspecto de la tradición republicana cubana. Investiga cómo las ideas republicanas fueron apropiadas y recreadas en el contexto de la guerra de Independencia, y con qué símbolos los actores cubanos elaboraron sus propias ideas sobre esta corriente política. El artículo se concentra en el análisis de iconografía, un cuerpo de fuentes poco atendido en la historiografía cubana. Identifica ambigüedades y tensiones que influyeron en el proceso independentista para sugerir cómo se produjeron nociones republicanas “desde abajo” en Cuba torno a la independencia y la República. Con ello, el trabajo contribuye a restituir el republicanismo como una tradición central en la historia política cubana, no como un eco de proyectos de otras geografías, sino como resultado de la producción política popular.

Resumen La comunidad científica internacional no tiene dudas hoy en asumir que las inscripciones son un medio de comunicación con intención de notoriedad, universalidad - dentro del grupo social que les da origen- y mayor o menor grado de perdurabilidad. De ahí que haya sido el mecanismo utilizado, entre otros, por artistas y escultores para acompañar a sus programas iconográficos con la intención de completarlos y ofrecer mayor profundidad comunicativa que la que se puede lograr únicamente con la imagen. Este es sin duda el objetivo perseguido por el artista (o los artistas) que realizaron los retablos de la Duda y la Pasión para la capilla funeraria de los Caparroso de la Catedral de Pamplona. Este mecanismo - texto+imagen -, no representa novedad alguna pero sí lo es la utilización de distintos tipos gráficos dentro de un mismo conjunto epigráfico. Este fenómeno es propio y casi exclusivo de la epigrafía de transición entre el ocaso medieval y los albores de la modernidad. Es por ello que nuestro estudio se centra en el análisis paleográfico de estos retablos tratando de arrojar luz sobre algunas incógnitas que aún permanecen sin resolver.

Abstract The international scientific community has no doubts today in assuming that the inscriptions are a means of communication with the intention of notoriety, universality -within the social group that gives rise to them- and a greater or lesser degree of durability. Hence, it has been the mechanism used, among others, by artists and sculptors to accompany their iconographic programs with the intention of completing them and offering greater communicative depth than that which can be achieved solely with images. This is undoubtedly the objective pursued by the artist (or artists) who created the altarpieces of Doubt and Passion for the Caparroso funeral chapel in Pamplona Cathedral. This mechanism - text+image -, does not represent any novelty, but the use of different graphic types within the same epigraphic group does. This phenomenon is characteristic of and almost exclusive to the epigraphy of the transition between the medieval decline and the dawn of modernity. That is why our study focuses on the paleographic analysis of these altarpieces trying to shed light on some unknowns that still remain unresolved.

Resumo Conhecidas pela sua prolixidade e heterodoxia, as margens da arte medieval oferecem-nos, também em Portugal, um vastíssimo elenco de figuras, temas e estratégias de representação que importa interrogar e conhecer. Criadas para preencher vazios, para dinamizar superfícies e relações espaciais, para comentar e ampliar os efeitos previstos para o centro, foram também investidas de funções lúdicas, profiláticas e apotropaicas, tão importantes na cultura medieval mas ainda tão pouco estudadas (e tão difíceis de estudar) entre nós. Entre os diversos protagonistas destas margens da arte medieval, destaca-se, sobretudo a partir do final do século XIII, a figura do macaco, símile e extensão satírica e moralizadora do comportamento humano e, portanto, actor principal de um mundo às avessas que encontra nas margens o seu lugar natural. Atestando a naturalidade desta mesma relação, a primeira designação medieval para uma boa parte da figuração que hoje designamos por marginalia provém do termo babuíno, convocando a generalidade das espécies e comportamentos símios então conhecidos. Partindo desta afinidade, procuraremos identificar e, sempre que possível, interpretar algumas das mais significativas representações de macacos nos marginalia medievais em Portugal ao longo do século XIV, das quais se destacam dois estudos de caso inéditos.

Abstract Commonly known for their prolix and heterodox nature, the margins of medieval art present us with a vast array of figures, themes, and representational strategies that deserve to be questioned and learned about. Created to fill voids, to dynamise surfaces and spatial relations, to comment on and amplify the effects anticipated for the centre, they were also invested with playful, prophylactic, and apotropaic functions, so important in medieval culture but still so little studied (and so difficult to study) in Portugal. Among the various protagonists of these margins of medieval art, and particularly from the 13th century on, apes stand out as a satirical and moralising simile of mankind, and, therefore, as the main actors of a topsy-turvy world that finds their natural place in the margins. Attesting to this close relationship, the first known medieval designation for what we now call marginalia, comes from the term babewyn, or baboon, summoning the generality of the simian species and behaviours then known. Based on this affinity, we will seek to identify and, whenever possible, interpret some of the most significant representations of monkeys in medieval marginalia in Portugal during the 14th century, of which two unpublished case studies stand out.

RESUMEN La ornamentación arquitectónica de las iglesias del pueblo de Juli en Chucuito (siglos XVII y XVIII), que incluye elementos naturales locales, contó con la comitencia de la orden de la Compañía de Jesús, cuyas concepciones doctrinales se vincularon con el probabilismo. Dicha doctrina consiste en una filosofía moral que incidió en los principios de flexibilidad para la introducción del cristianismo y donde la naturaleza jugó un rol articulador clave. El presente artículo analiza los principios probabilistas junto con el interés de la orden en el mundo natural y su implicancia en el mundo andino. Se considera que la presencia de elementos naturales en portadas de acceso a espacios religiosos cristianos, en un contexto donde la naturaleza poseía un estatuto ontológico común a los seres humanos, necesitó de un margen de flexibilidad que concuerda con las concepciones doctrinales jesuíticas.

ABSTRACT The architectural ornamentation of the churches of the Juli´s town in Chucuito (17th and 18th centuries), which includes local natural elements, was commissioned by the order of the Company of Jesus, whose doctrinal conceptions were linked to probabilism, a moral philosophy that influenced the principles of flexibility for the introduction of Christianity and where nature played a key articulating role. We will analyze probabilistic principles along with the order’s interest in the natural world and its implication in the Andean world. We consider that the presence of natural elements on access portals to Christian religious spaces, in a context where nature had an ontological status common to human beings, required a margin of flexibility that agrees with Jesuit doctrinal conceptions.

Abstract The political, cultural and economic features that characterize the society of the 21st century have allowed the emergence of the so-called digital society, characterized by the dominant use of information and communication technologies for the development of activities such as research, communication, sharing knowledge and information, producing, among others. In this framework, the objective of this work is to design and program an immersive augmented reality application that allows the visualization of 3D iconography to inform about the life risk to which the occupants of the case study building are exposed. To do this, we will work with a quasi-experimental methodology that combines design, programming and verification procedures through trial and error. Concluding that it is possible to integrate seismic risk iconography for visualization in the augmented reality application.

Resumen Los rasgos políticos, culturales y económicos que caracterizan a la sociedad del siglo XXI, han permitido el surgimiento de la llamada sociedad digital la cual se caracteriza por el uso dominante de las tecnologías de la información y comunicación para el desarrollo de actividades tales como investigación, comunicación, compartir conocimiento e información, producir, entre otros. En este marco, el presente trabajo tiene por objetivo diseñar y programar una aplicación de tecnología inmersiva de realidad aumentada que permita la visualización de iconografía en 3D para informar sobre el riesgo de vida a los que están expuestos los ocupantes del edificio caso de estudio. Para ello se trabajará con una metodología cuasi-experimental que combina procedimientos de diseño, programación y verificación a través de prueba y error. Concluyendo que es posible integrar la iconografía sobre riesgo sísmico edilicio para su visualización en la aplicación de realidad aumentada.

Abstract: The accuracy obtained in Art Media Classification (AMC) using CNN is lower compared to other image classification problems, where the acceptable accuracy ranges from 90 to 99%. This article presents an analysis of the performance of three different CNNs with transfer learning for AMC, to answer the question of what challenges arise in this application. We proposed the Art Media Dataset (ArtMD) to train three CNNs. ArtMD contains five classes of art: Drawing, Engraving, Iconography, Painting, and Sculpture. The analysis of the results demonstrates that all the tested CNNs exhibit similar behavior. Drawing, Engraving, and Painting had the highest relationship, showing a strong relationship between Drawing and Engraving. We implemented two more experiments, removing first Drawing and then Engraving. The best performance with 86% accuracy was achieved by removing Drawing. Analysis of the confusion matrix of the three experiments for each CNN confirms that Drawing and Painting have the lowest accuracy, showing a strong misclassification with the other classes. This analysis presents the degree of relationship between the three CNN models and details the challenges of AMC.

Abstract This thesis addresses the graphic transformations expressed in three supports: girdles, tapestries and drums, within a framework of diverse cultural exchanges, as well as social and natural phenomena. The research problem sought to know what was the impact of the interrelation that occurred between the Salasca artisans with artists and designers, added to the migratory processes in which these settlers participated? And in what way, these factors determined formal, figurative and symbolic transformations of the visual representations present in their cultural objects between the years 1960 and 2018. In this process, the hypothesis was corroborated that indicated that the changes in these graphic representations were due to the interaction with other visual cultures that allowed a process of aesthetic transculturation and the recomposition of the relational criteria expressed in the three elements which were our main units of analysis. The vast graphic compilation made on the fabrics and paintings of the Salasaca people allowed us to know that the transformations were not only morphological, but also that, in some cases, the symbolic core of the representations varied depending on the new contexts.

Resumen Esta tesis aborda las transformaciones gráficas expresadas en tres soportes: fajas, tapices y tambores, dentro de un marco de diversos intercambios culturales, así como también, fenómenos sociales y naturales. El problema de investigación buscaba conocer ¿cuál fue el impacto de la interrelación que se diera entre los artesanos salasacas con artistas y diseñadores, sumado a los procesos migratorios en los que participaron estos pobladores? y de qué manera, estos factores determinaron transformaciones formales, figurativas y simbólicas de las representaciones visuales presentes en sus en sus objetos culturales entre los años 1960 y 2018. En este proceso fue corroborada la hipótesis que señalaba que los cambios en estas representaciones gráficas obedecieron a la interacción con otras culturas visuales que permitieron un proceso de transculturación estética y de recomposición de los criterios relacionales expresados en los tres elementos, que fueron nuestras unidades principales de análisis. La vasta recopilación gráfica realizada sobre los tejidos y pinturas del pueblo Salasaca, permitió conocer que las transformaciones no fueron únicamente morfológicas, sino que, además, en algunos casos, el núcleo simbólico de las representaciones varió en función de los nuevos contextos.

Resumo Esta dissertação aborda as transformações gráficas expressas em três suportes: girdles, tapeçarias e tambores, num quadro de diversas trocas culturais, bem como de fenômenos sociais e naturais. O problema de pesquisa buscou saber qual foi o impacto da inter-relação ocorrida entre os artesãos salasca com artistas e designers, somada aos processos migratórios dos quais esses colonos participaram? E de que forma esses fatores determinaram transformações formais, figurativas e simbólicas das representações visuais presentes em seus objetos culturais entre os anos 1960 e 2018. Nesse processo, foi corroborada a hipótese que indicava que as mudanças nessas representações gráficas se deviam à interação com outras culturas visuais que permitiram um processo de transculturação estética e a recomposição dos critérios relacionais expressos nos três elementos, que foram nossas principais unidades de análise. A vasta compilação gráfica feita sobre os tecidos e pinturas do povo salasaca permitiu-nos saber que as transformações não eram apenas morfológicas, mas também que, em alguns casos, o núcleo simbólico das representações variava em função dos novos contextos.

Abstract: This paper studies D. João V’s extraordinary embassy to Rome (1716), led by the Marquis of Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. Based on the political analysis of their iconographic program, the allegoric elements of the delegation’s coaches, currently exhibited in the National Coach Museum, in Portugal, are identified, compared with other visual sources, and connected to contemporary reports and passages of Camoes’ work. A perspective defending the sumptuousness of the Joanine period as a form of exaltation of the power of the Portuguese Crown, and the allegorical messages or meanings subjacent to the sculptural ensemble are also investigated. Abstract D Vs V s 1716, 1716 , (1716) Fontes Meneses program delegations delegation coaches Museum Portugal identified sources Camoes work Crown investigated 171 (1716 17 (171 1 (17 (1 (

Resumo: Este artigo estuda a embaixada extraordinária de D. João V a Roma (1716), liderada pelo marquês de Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. A partir da análise política do programa iconográfico de coches da comitiva, atualmente no Museu Nacional dos Coches, em Portugal, os elementos alegóricos são identificados, comparados a outras fontes visuais e relacionados a relatos coetâneos e a passagens da obra camoniana. Além da perspectiva que defende a suntuosidade do período joanino como forma de exaltação do poder da Coroa portuguesa, investiga-se quais outros significados ou mensagens alegóricas estão subjacentes ao conjunto escultórico. Resumo D 1716, 1716 , (1716) Fontes Meneses comitiva Coches Portugal identificados camoniana portuguesa investigase investiga se escultórico 171 (1716 17 (171 1 (17 (1 (

ABSTRACT: This article presents a relevant topic in the trajectory of Giambattista Piranesi: the proposition of the “Egyptian style” in the publication Diverse maniere d’adornare i cammini ( 1769 ), which reveals some relevant aspects of the Piranesian critical fortune for architectural debates in the 18th century. Firstly, one can gauge Giambattista’s perception of the iconographic and compositional potential of Ancient Egypt by references found in Rome and through the field of decoration, in composing fireplaces — an element of “small architecture.” Its merit lies in presenting a new assessment on the applicability of Egyptian iconography. Additionally, Piranesi attempted to show a way of conceiving the art of building based on variations learned from the lexicon of the Ancients, expressing the craftsman’s ingenuity. This article concludes that by proposing the composition of fireplaces in the “Egyptian style,” Piranesi tested his assumptions about the craftsman’s ability to distribute ornamentation according to the architecture. He thus intended to legitimize, on a theoretical and practical level, a reconciliation between the ancient precepts and the demands of the inventive procedure. Diverse maniere has established itself as a crucial work for understanding Piranesi’s artistic trajectory, consolidating arguments about inventive license based on the repertoire of Antiquity. ABSTRACT style dadornare d adornare 176 , ) th century Firstly Giambattistas s decoration small architecture iconography Additionally Ancients craftsmans craftsman ingenuity style, legitimize level procedure Piranesis Antiquity 17 1

RESUMO: Este artigo apresenta um tópico relevante na trajetória de Giambattista Piranesi: a proposição do “estilo egípcio” na publicação Diverse maniere d’adornare i cammini ( 1769 ). Com essa obra pode-se vislumbrar alguns aspectos relevantes da fortuna crítica piranesiana para os debates arquitetônicos no século XVIII. Primeiramente, pode-se aferir a percepção de Giambattista sobre o potencial iconográfico e compositivo do Egito Antigo mediante as referências encontradas em Roma e servindo-se do campo da decoração, com a proposta de composições de lareiras — elemento da “pequena arquitetura”. O mérito da obra consiste em apresentar uma nova apreciação sobre a aplicabilidade da iconografia egípcia. Além desse aspecto, com essa publicação, Piranesi intentou demonstrar uma forma de conceber a arte de construir a partir das variações depreendidas do léxico dos antigos, expressando a engenhosidade do artífice. Este artigo conclui que, ao propor as invenções de lareiras no “estilo egípcio”, Piranesi realizou suas premissas sobre a capacidade do artífice para distribuir a ornamentação em conformidade com a arquitetura. Assim, ele pretendia legitimar nos planos teórico e prático uma conciliação entre os preceitos dos antigos e as exigências do procedimento inventivo. Diverse Maniere se consagrou como uma obra crucial para compreender a trajetória piranesiana, consolidando as argumentações sobre a licença inventiva a partir do repertório da Antiguidade. RESUMO estilo egípcio dadornare d adornare 176 . ) podese pode XVIII Primeiramente servindose servindo decoração pequena arquitetura arquitetura” egípcia aspecto que egípcio, , Assim inventivo Antiguidade 17 1

Resumo Os estudos de cultura visual têm inovado as metodologias para abordar as imagens da África à época dos impérios coloniais. A iconografia colonial em diferentes suportes materiais vem sendo fonte visual e objeto de muitas investigações, publicações e exposições, notadamente em países como Alemanha, Bélgica, França, Inglaterra e Portugal. Na história visual do colonialismo, as imagens da África têm sido também objetos de novos estudos, mas ainda são raros aqueles que abordam as imagens da imprensa ilustrada como mercadorias de uma economia visual e como produtos para o olhar inspetor do público leitor. A partir da revista alemã Kolonie und Heimat in Wort und Bild [ Colônia e pátria em palavra e imagem ], órgão da Frauenbund der Deutschen Kolonialgesellschaft [Liga Feminina da Sociedade Colonial Alemã], busca-se demonstrar como as imagens da África integraram uma economia visual à época dos impérios coloniais. A partir da análise do circuito social das imagens, os resultados do estudo proposto indicam o surgimento de uma nova economia visual à época da reprodutibilidade técnica da imagem, a mercantilização de fotografias de paisagens e gentes africanas e uma forma de vigilância ótica através da imprensa ilustrada colonial. coloniais investigações exposições Alemanha Bélgica França Portugal colonialismo leitor , ] Liga Alemã, Alemã Alemã] buscase busca se

Abstract Visual culture studies have innovated the methodologies to approach the images of Africa during the era of colonial empires. The colonial iconography, found in different material supports, has served as a visual source and subject of many investigations, publications, and exhibitions, particularly in countries such as Germany, Belgium, France, England, and Portugal. In the visual history of colonialism, the images of Africa have also been the focus of new studies. However, examinations of images in the illustrated press as commodities within a certain visual economy and as products for the scrutinizing gaze of the reading public are still scarce. Through an analysis of the German magazine Kolonie und Heimat in Wort und Bild [ Colony and Homeland in Word and Image ], which was an organ of the Frauenbund der Deutschen Kolonialgesellschaft [Women’s League of the German Colonial Society], we aim to demonstrate how the images of Africa formed part of a certain visual economy during colonial times. By considering the social circuit of these images, the findings of this study point to the emergence of a new visual economy in the age of mechanical reproduction of images, to the commodification of photographs depicting African landscapes and people, and to a form of visual surveillance through the colonial illustrated press. empires iconography supports investigations publications exhibitions Germany Belgium France England Portugal colonialism However scarce , ] Womens Women s Society, Society Society] times people

ABSTRACT: This paper studies the relationships between text and image on sculpted steles of Tikal, using a multidisciplinary approach that combines Art History, epigraphy, and structural discourse analysis of the Maya culture. Based on the arrangement of hieroglyphic texts and images, the authors propose that there are four core ways of articulating written and representational media in a given object: identical, coexistent, co-referential, and interreferential. This paper addresses these interactions and their main functions through the study of the steles 4,31, and 22 of Tikal, all of them from the Classic Period (ad 250-950).

RESUMEN: En este trabajo se presenta un estudio acerca de las relaciones entre texto e imagen utilizando un enfoque multidisciplinar que combina la historia del arte, la epigrafía y el análisis estructural del discurso en la cultura maya. Se plantea que, según la disposición de los textos jeroglíficos y las imágenes, pueden existir cuatro formas esenciales de articular el medio escrito y el representacional en un objeto determinado: idéntica, coexistencial, correferencial e interreferencial. Así, se abordan estas interacciones y sus principales funciones a través del análisis de las estelas 4, 31 y 22 de Tikal, pertenecientes al período Clásico (250-950 dc).

ABSTRACT: Ix Tz'akb'u Ajaw and Ix Kinuuw Mat were two women from the city of Uhx Te! K'uh who, according to textual references, played a central role in relations between their town of origin and the Palenque court in the 7th century ce. However, recorded information is not always sufficient to understand the functions of these historical figures in the court. But art, as a means of cultural expression, can offer an important source of complementary information on the worldview, identity and roles of the figures represented. In this paper we review the biographies of these ladies in relation to the results of a detailed analysis of their portraits from a gender perspective. This allows us to approach their histories in a new way and to reflect on the role they played in the socio-political context they lived within.

RESUMEN: Ix Tz'akb'u Ajaw e Ix Kinuuw Mat fueron dos mujeres originarias de la ciudad de Uhx Te' K'uh, quienes, de acuerdo con las menciones en los textos, desempeñaron un rol fundamental en las relaciones entre su localidad y la corte palencana durante el siglo VII ec . Sin embargo, los datos registrados no siempre son suficientes para entender las funciones de estas figuras históricas en la corte. En tal sentido, el arte, como medio de expresión cultural, constituye una importante fuente de información complementaria sobre la cosmovisión, la identidad y los cometidos de estas mujeres. Por ello, en el presente trabajo revisamos sus biografías a través de los resultados del análisis pormenorizado de sus retratos desde una perspectiva de género. Esto nos permite realizar una aproximación novedosa a sus historias y una reflexión sobre el papel que desempeñaron en el contexto sociopolítico en el que vivieron.

ABSTRACT: This work analyzes the compositional and iconographic evolution of the Maya flood myth and its protagonists, the Flood Dragon and the character that kills it, from the Late Preclassic (400 bc-ad 250), Classic (ad 250-950), and Postclassic (ad 1000-1500) periods. The dragon is two headed and has a reptilian body with celestial signs. Its attributes have varied across eras and regions, including the deer hooves and star eye that emerged during the Early Classic (ad 250-550/600) and continued into the Late Classic (ad 600-950) periods. Image prevails over text in this investigation, in which the centralfocus is on the iconographic study of the dragon, the composition, and the support on which it is represented.

RESUMEN: En este trabajo se analiza la evolución compositiva e iconográfica del mito maya de la inundación y sus protagonistas, el Dragón de la Inundación y el personaje que le da muerte, entre los períodos Preclásico Tardío (400 ac-Z50 dc), Clásico (250-950 dc) y Posclásico (1000-1500 dc). El dragón tiene cuerpo de reptil con signos celestes y doble cabeza. Sus atributos varían con el tiempo según regiones y épocas, como las patas de venado y el ojo de estrella, que se incorporan durante el período Clásico Temprano (250-550/600 dc) y continúan en el Clásico Tardío (600-950 dc). En esta investigación la imagen prima sobre el texto, y el estudio iconográfico del dragón, la composición y el soporte en que se le representa, son sus puntos centrales.

ABSTRACT: This paperfocuses on the study of the K'UH logogram that appears linked to the emblem glyphs in monuments of the Classic Maya period (ad 250-950). The author take an interdisciplinary approach that employs epigraphy, paleography, iconography, and visual studies to investigate this grapheme, identifying regional and temporal variations in its design during the period it was in use, in order to determine its iconographical significance and better understand the concepts of blood and sacred substance associated with it. Likewise, the different designs of the grapheme K'UH found to date and contextualise hieroglyphic without date or place of origin, to know which designs were used by each political entity in their texts, as well as to carry out a historical reconstruction of the utilize of the title k'uhul ajaw among the Maya rulers.

RESUMEN: Este artículo se centra en el estudio del logograma K’UH que aparece vinculado a los glifos emblema de los monumentos mayas del período Clásico (250-950 dc). Desde un enfoque interdisciplinar, se ha empleado la epigrafía, la paleografía, la iconografía y los estudios visuales para analizar este grafema, con el objetivo de conocer las variaciones de su diseño producidas regional y temporalmente durante la época que estuvo en uso, con tal de obtener información acerca de lo que representa su iconografía y comprender los conceptos de sangre y sustancia sagrada asociados a él. Asimismo, se utilizan los distintos diseños hallados del grafema K’UH para datar y contextualizar jeroglíficos sin fecha ni lugar de origen, entender qué diseños utilizó cada entidad política en sus textos, así como realizar una reconstrucción histórica del empleo del título k'uhul ajaw entre los soberanos mayas.