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Exploring the 12 Prophets of Aleijadinho: a 3D visit

The reading, which must still be made from a certain distance, does not reveal the facial details where the artist concentrated all the powers of his maturity. This difference becomes common to all, providing an expressive search unity – rather than a stylistic virtuosity that would typify stereotyped plasticity traits. The same applies to the position of the feet when seen as aggregating and differentiation elements. The advancement of each one is constrained sometimes by the weight of the folds of the garments, and sometimes by the curves of 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., which show us a new way to follow by the carved words. After the words of warning contained in the prophecies are read, the left hand holds firmly the scroll that closes this spiritual discourse – the permanence of the written word – to indicate the prophet’s new role that is preaching. For this, the artist uses the gesture of the right hand, which is constrained for the main prophets but expands to the prophets of the extremities.

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.