La imagen del carnero en el Sacrificio de Isaac. Continuidad y variación en la cultura visual

Andrés Herraiz Llavador

doi:10.24310/BoLArte.2020.v41i.8062

Authors

Andrés Herraiz Llavador Universitat de València Spain

DOI:

https://doi.org/10.24310/BoLArte.2020.v41i.8062

Keywords:

Ram, Sacrifice of Isaac, Angel, Iconographic Analysis, Fathers of the Church, Alcuin of York, Christian Tradition

Abstract

The ram figure stands out significantly in the animalistic symbolism in Christianity. The present article focuses on the diachronic study of the representations of this animal inserted within the iconographic type of the Sacrifice of Isaac, whose literary source is Genesis 22. The detailed analysis of this significant element in the Old Testament passage becomes essential when reading the first texts made by the Fathers of the Church, generating, in itself, the appearance of the angel carrying the ram, a typological variant in the future of the iconographic type in its continuity and variation. The objective, therefore, is to attend to those representations that are based on sources of the patristic, the Hebrew haggadah and the Islamic tafsir that are witness to the survival of the typological variants within the Western conventionalized cultural tradition.

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Author Biography

Andrés Herraiz Llavador, Universitat de València

Andrés Herraiz Llavador es investigador predoctoral del Departamento de Historia del Arte de la Universitat de València, donde realizó sus estudios de grado. Su tesis, aborda la construcción del tipo iconográfico del Sacrificio de Isaac y su proyección cultural en el Mundo Contemporáneo. Forma parte del grupo de investigación APES Cultura Visual, que dirige el Dr. Rafael García Mahíques. Es miembro de la Sociedad Española de Emblemática y Vicepresidente del grupo de jóvenes investigadores de la Facultad de Geografía e Historia de la Universitat de València. El interés por los tipos iconográficos del cristianismo lo comparte con el estudio y gestión de las manifestaciones artísticas propias de la visualidad contemporánea.

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