Publication: Sobre el gesto χεῖρ’ ἐπί καρπῶ en la cultura visual etrusca y falisca.
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Vendrell Cabanillas, David
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Universidad Pablo de Olavide
Abstract
Hacia la primera mitad del siglo VI a.C., la cultura visual etrusca se apropia de un gesto de origen egipcio pero característico del arte griego llamado χεῖρ’ ἐπί καρπῶ (agarrar la muñeca) y, a lo largo de los siglos venideros es, en algunas ocasiones, adaptado y reinterpretado otorgándole, de esta manera, un significado semántico distinto al original. Así pues, una vez introducidas ciertas cuestiones generales sobre el gesto en cuestión, el objetivo del presente estudio es, por un lado, presentar un breve recorrido de los ejemplos visuales etruscos y, también, faliscos, más característicos en los que está presente dicho ademán y, por otro lado, exponer las múltiples lecturas que adquiere según la narrativa visual, a pesar de que, entre ellas, podemos anticipar que la mayoritaria es aquella que toma una dimensión funeraria.
Around the first half of the 6th century BC, Etruscan visual culture appropriated a gesture of Egyptian origin but characteristic of Greek art called χεῖρ’ ἐπί καρπῶ (to grab the wrist) and, over the coming centuries, it was adapted and, on some occasions, even reinterpreted, granting it, in this way, a semantic meaning different from the original. Thus, the objective of this study is, on the one hand, to present a brief overview of the most characteristic Etruscan and Faliscan visual examples in which said gesture is identified and, on the other hand, to expose the multiple readings it acquires according to the visual narrative, although, among them, we can anticipate that the funerary is the main one feature.
Around the first half of the 6th century BC, Etruscan visual culture appropriated a gesture of Egyptian origin but characteristic of Greek art called χεῖρ’ ἐπί καρπῶ (to grab the wrist) and, over the coming centuries, it was adapted and, on some occasions, even reinterpreted, granting it, in this way, a semantic meaning different from the original. Thus, the objective of this study is, on the one hand, to present a brief overview of the most characteristic Etruscan and Faliscan visual examples in which said gesture is identified and, on the other hand, to expose the multiple readings it acquires according to the visual narrative, although, among them, we can anticipate that the funerary is the main one feature.
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Atrio. Revista de Historia del Arte, ISSN-e 2659-5230, ISSN 0214-8293, Nº. 29, 2023, págs. 8-25




