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Exploring the 12 Prophets of Aleijadinho: a 3D visit

The consistent traits that unite the prophets can be seen first at a distance, and consist of the garments constituted by (short or long) tunics, the mantles on the shoulders, held by a hand or belt forming straight folds with Baroqueartistic style of the seventeenth century and part of the eighteenth, during the Protestant Reformation against the Catholic reform and the absolutist policy; stylistically it is associated with forms in movement, dramatic expressions, intense color, shadows and lights. style and heavy fit, or knots expanding the folds in triangular shapes. On their heads, turbans finished off with balls, berets or even hood, mark the silhouettes.

The second constant is formed by the phylacteriesroll of parchment with sacred texts; (filactera) small box containing biblical texts written on parchment ballots; in the Middle Ages, ribbons inscribed with the sayings of the characters, in general saints; in the Modern Age, texts of sayings of the characters in comic books. in the shape of open scrolls containing phrases that mark the prophecy of that prophet.

The feet in different positions – which to Bazin suggest a ballet – wear high boots when visible, for wearing shorter tunics. They are adorned with braided shoelaces and V finishing, showing the softness of the leather. If the tunics or mantles cover the legs, only the shoe caps are shown in motion.

On the faces, the difference rests between the beardless group formed by the youngest prophets, Daniel, Baruch, Amos and Obadiah, and a mature group, formed by Hosea, Jonah, Joel, Jeremiah, Habakkuk and Ezekiel. The characteristics of the beards and mustaches are similar to those of the characters of the Stations of the Cross in the chapelssmall religious building; ecclesiastical nomenclature; are also called chapels any churches that are not parish churches; enclosure of a church where is a particular altar. below the sanctuary, with straight noses and slightly almond-shaped eyes blinded by the lights.

The gestures usually consist of holding the prophetic scrolls – phylacteries – with the left hand, and the action – writing with a pen, tugging the mantle, indicating the scriptures, raising the arms – are reserved for the right hand. The lifting of the arm, freeing itself from the folds of the mantle, shyly occurs in the prophets Amos and Jonah, and then expand in Obadiah and Habakkuk.

Download PDF BAZIN, Germain.
Aleijadinho e a escultura barroca no Brasil. Rio de Janeiro: Record, 1970.


OLIVEIRA, Myriam Andrade Ribeiro de.
O Aleijadinho e o santuário de Congonhas. Roteiros do Patrimônio. Brasília : Monumenta/Iphan, 2006.

TEIXEIRA, José de Monterroso.
Aleijadinho, o teatro da fé. São Paulo : Metalivros, 2007.