Publication: Cuadros-recuerdo de los Templos del Campo de Calatrava : arte textil al servicio de la devoción
Authors
Toro Calzado, María Jesús de
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Escuela Internacional de Doctorado
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Pérez Sánchez, Manuel ; García Zapata, Ignacio José
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
La presente tesis doctoral estudia los exvotos narrativos fotográficos textiles del Campo de Calatrava, que no han tenido una especial relevancia ni para la Iglesia, ni para la Historia del Arte. La dignificación y conservación de este Patrimonio invisible es uno de los objetivos de esta investigación. La tesis se centra en el tema de los collages textiles, como un testimonio de la religiosidad popular, que constituyen valiosos documentos verbo-icónicos que nos acercan al conocimiento de muchos aspectos de la cultura y del pasado de grupos sociales de los que no contamos con muchas otras fuentes históricas de información. Se descubre en ellos lo más profundo de la intrahistoria del pueblo calatravo. Se pretende entender el mensaje del artista/artesano, contar al visitante las historias que encierran estos cuadros votivos mostrándole la esencia del "recuerdo" con final feliz. Atrevimiento basado en un disciplinado trabajo de campo, de investigación etnográfica y búsqueda de documentación en archivos, bibliotecas y museos. Así se ha analizado la gran colección de obras votivas calatravas desde diversos aspectos, como pueden ser los materiales, las técnicas, la composición, la ornamentación, la devoción o la iconografía; sobrepasando el carácter meramente artístico de las piezas para contextualizarlas dentro de su función publicitaria del voto milagroso. En conclusión, se han contemplado diversos puntos de vista procurando superar el tradicional enfoque de subestimación de esta expresión votiva popular, proporcionando una visión superior, acercándola en algunos casos a objeto de arte, y siempre como referente de fuente histórica para los estudiosos. El Plan de Trabajo se ha estructurado en tres ejes planificados con cronogramas revisables, y adaptados al momento investigador: Trabajo de campo, en búsqueda de la formación del Corpus votivo; Trabajo de catalogación y estudio definitivo del corpus y Establecimiento de relaciones entre santuarios (interrelaciones e influencias). Con el fin de garantizar la comprensión de la tesis y su accesibilidad, se ha intentado simplificar al máximo la estructura del documento, por tratarse de un trabajo de gran magnitud, quedando dividido en cuatro bloques. El primer bloque para ubicar este fenómeno votivo en su contexto territorial, histórico y social. Se tiene presente el espacio de la Orden de Calatrava y su demarcación, coincidente físicamente con el Campo de Calatrava y políticamente con la mancomunidad del Campo de Calatrava; nos centramos en la sociedad del s. XIX. El segundo bloque aborda al cuadro-recuerdo como exvoto narrativo fotográfico de cariz textil y se le otorga la categoría de Patrimonio Cultural. Tras la presentación al cuadro votivo físicamente se procede a su análisis estético-iconográfico, teniendo presente que estos collages votivos están constituidos por tres elementos compositivos más el exorno bordado en el soporte textil. Con las biografías de los artífices de la obra de fe (collagistas, bordadoras profesionales y no profesionales, fotógrafos y ebanistas se concluye la presentación del cuadro-recuerdo como expresión plástica verbo-icónica popular, que obedece al cumplimiento de un voto, a la que se conoce desde la presente investigación como "promesa-bordada". El tercer bloque es el cuerpo esencial de la tesis. Se presenta la catalogación exhaustiva de las 110 piezas textiles, presentada por santuarios y siguiendo la datación de la donación proclamada en la cartela en el propio cuadro-recuerdo.El cuarto bloque muestra el estado de conservación en que se encuentran las colecciones de las piezas votivas a la fecha de entrega de la presente tesis (2025), aludiendo a los dos Proyectos de restauración que se han efectuado durante la investigación. Adicionalmente, para refrendar la investigación, se incluye un anexo con treinta documentos que acreditan la exhaustiva metodología empleada.
This doctoral thesis studies the photographic textile ex-votos of the Campo de Calatrava region, which have not received particular attention from either the Church or the History of Art. The recognition and preservation of this invisible heritage is one of the objectives of this research.The dissertation focuses on textile collages as testimonies of popular religiosity, constituting valuable verbo-iconic documents that bring us closer to understanding many aspects of the culture and past of social groups for which few other historical sources are available. Within them lies the deepest layer of the intrahistory of the Calatravan people. The study seeks to interpret the message conveyed by the artist-artisan and to narrate to visitors the stories embedded in these votive images, revealing the essence of the "memory" with a happy ending. This endeavor is grounded in rigorous fieldwork, ethnographic research, and systematic consultation of archives, libraries, and museums. Through this approach, the extensive collection of Calatravan votive works has been analyzed from multiple perspectives, including materials, techniques, composition, ornamentation, devotion, and iconography, transcending their merely artistic character in order to contextualize them within their promotional function of proclaiming a miraculous vow. In conclusion, the research adopts diverse viewpoints, striving to overcome the traditional tendency to underestimate this form of popular votive expression, offering a more elevated interpretation that in some cases brings it closer to an object of art, and always recognizing it as a valuable historical source for researchers.The Work Plan has been structured around three axes, planned with adjustable timelines adapted to the research process: fieldwork aimed at forming the votive corpus; cataloguing and definitive study of the corpus; and the establishment of relationships among sanctuaries (interrelations and mutual influences).In order to ensure the comprehensibility and accessibility of the dissertation, the structure of the document has been simplified as much as possible, given the magnitude of the study. The work is divided into four main sections. The first section situates this votive phenomenon within its territorial, historical, and social context. It considers the space of the Order of Calatrava and its jurisdiction, physically coinciding with the Campo de Calatrava and politically with the Campo de Calatrava Commonwealth, with a particular focus on nineteenth-century society. The second section addresses the memory-picture as a narrative photographic ex-voto of a textile nature and grants it the status of Cultural Heritage. Following a physical presentation of the votive image, an aesthetic and iconographic analysis is undertaken, bearing in mind that these votive collages are composed of three main compositional elements plus the embroidered ornamentation on the textile support. Through the biographies of the makers of these works of faith-collage artists, professional and non-professional embroiderers, photographers, and cabinetmakers-the section concludes with the presentation of the memory-picture as a popular verbo-iconic plastic expression arising from the fulfillment of a vow, referred to in this research as a "stitched promise." The third section constitutes the core of the dissertation, presenting an exhaustive catalogue of the 110 textile pieces, organized by sanctuary and following the date of donation proclaimed on the cartouche of each memory-picture.The fourth section outlines the state of conservation of the votive collections at the time of submission of this dissertation (2025), referring to the two restoration projects carried out during the course of the research.Additionally, in order to substantiate the study, an appendix is included containing thirty documents that attest to the exhaustive methodology employed.
This doctoral thesis studies the photographic textile ex-votos of the Campo de Calatrava region, which have not received particular attention from either the Church or the History of Art. The recognition and preservation of this invisible heritage is one of the objectives of this research.The dissertation focuses on textile collages as testimonies of popular religiosity, constituting valuable verbo-iconic documents that bring us closer to understanding many aspects of the culture and past of social groups for which few other historical sources are available. Within them lies the deepest layer of the intrahistory of the Calatravan people. The study seeks to interpret the message conveyed by the artist-artisan and to narrate to visitors the stories embedded in these votive images, revealing the essence of the "memory" with a happy ending. This endeavor is grounded in rigorous fieldwork, ethnographic research, and systematic consultation of archives, libraries, and museums. Through this approach, the extensive collection of Calatravan votive works has been analyzed from multiple perspectives, including materials, techniques, composition, ornamentation, devotion, and iconography, transcending their merely artistic character in order to contextualize them within their promotional function of proclaiming a miraculous vow. In conclusion, the research adopts diverse viewpoints, striving to overcome the traditional tendency to underestimate this form of popular votive expression, offering a more elevated interpretation that in some cases brings it closer to an object of art, and always recognizing it as a valuable historical source for researchers.The Work Plan has been structured around three axes, planned with adjustable timelines adapted to the research process: fieldwork aimed at forming the votive corpus; cataloguing and definitive study of the corpus; and the establishment of relationships among sanctuaries (interrelations and mutual influences).In order to ensure the comprehensibility and accessibility of the dissertation, the structure of the document has been simplified as much as possible, given the magnitude of the study. The work is divided into four main sections. The first section situates this votive phenomenon within its territorial, historical, and social context. It considers the space of the Order of Calatrava and its jurisdiction, physically coinciding with the Campo de Calatrava and politically with the Campo de Calatrava Commonwealth, with a particular focus on nineteenth-century society. The second section addresses the memory-picture as a narrative photographic ex-voto of a textile nature and grants it the status of Cultural Heritage. Following a physical presentation of the votive image, an aesthetic and iconographic analysis is undertaken, bearing in mind that these votive collages are composed of three main compositional elements plus the embroidered ornamentation on the textile support. Through the biographies of the makers of these works of faith-collage artists, professional and non-professional embroiderers, photographers, and cabinetmakers-the section concludes with the presentation of the memory-picture as a popular verbo-iconic plastic expression arising from the fulfillment of a vow, referred to in this research as a "stitched promise." The third section constitutes the core of the dissertation, presenting an exhaustive catalogue of the 110 textile pieces, organized by sanctuary and following the date of donation proclaimed on the cartouche of each memory-picture.The fourth section outlines the state of conservation of the votive collections at the time of submission of this dissertation (2025), referring to the two restoration projects carried out during the course of the research.Additionally, in order to substantiate the study, an appendix is included containing thirty documents that attest to the exhaustive methodology employed.
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