La zarigüeya común de orejas negras en el universo simbólico e iconográfico. De los adornos efigies en las Antillas Menores a las grafías europeas de simivulpa y sus variantes en los siglos XVI-XVII
Date
Authors
Subject
common opossum
marsupial
Didelphis marsupialis
simivulpa
Lesser Antilles
ornament
engraving
iconography
symbolism
zarigüeya común
marsupial
Didelphis marsupialis
simivulpa
Antillas Menores
adorno
grabado
iconografía
simbolismo
marsupial
Didelphis marsupialis
simivulpa
Lesser Antilles
ornament
engraving
iconography
symbolism
zarigüeya común
marsupial
Didelphis marsupialis
simivulpa
Antillas Menores
adorno
grabado
iconografía
simbolismo
Language:
Journal Title
Journal ISSN
Volume Title
Publisher
Instituto Tecnológico de Santo Domingo (INTEC)
El estudio se enfoca en el análisis estético, variantes iconográficas y simbolismo de la zarigüeya común de orejas negras (Didelphis marsupialis Linnaeus 1758) en adornos cerámicos de origen agroalfarero de tradición saladoide e influencia barrancoide, localizados al sur del arco de las Antillas Menores y Venezuela, actualmente custodiados en diferentes colecciones, academias científicas y museos del mundo, en particular, del Caribe y Estados Unidos. Igualmente, se estudia todo un corpus de impresos con descripciones e ilustraciones del marsupial, elaboradas estás últimas por artistas europeos mediante el grabado en xilografía o aguafuerte. Para ello, cronistas y artistas, a menudo se apoyaron en el esquema analógico de Aristóteles, desarticulando al didélfido en partes anatómicas, para luego compararlas con las de otros animales en función de su grado de semejanza, siendo por lo general con especímenes del llamado entonces Viejo Mundo, hasta crear un concepto ‘nuevo’, en realidad, una criatura anómala, resultado de la yuxtaposición de imágenes de lo ‘viejo’ sobre lo ‘nuevo’, para así mostrar de forma comprensible y accesible a la mente humana lo inteligible y desconocido del mundo caribeño, con objeto de dar una continuidad zoológica y cerrar las brechas que separaban ambos ‘mundos’, en otras palabras, la semiosis de Charles Sanders Peirce.
This study focuses on the aesthetic analysis, iconographic variants, and symbolism of the common black-eared opossum (Didelphis marsupialis Linnaeus 1758) in ceramic ornaments of agro-ceramic origin of the Saladoid tradition with Barrancoid influence, located in the south of the Lesser Antilles arc and Venezuela, currently held in different collections, scientific academies, and museums around the world, particularly in the Caribbean and United States. Likewise, it will study an entire corpus of prints with descriptions and illustrations of the marsupial, the latter being elaborated by European artists through wood engravings or etchings. For this purpose, chroniclers and artists often relied on the analogical outline of Aristotle, disarticulating the didelphidae into anatomic parts to later compare them with those of other animals according to their degree of similarity, usually being with species of the so-called Old World, in order to create a ‘new’ concept, in reality, an anomalous creature, resulting from the juxtaposition of images of the ‘old’ over the ‘new’, in order to show the intelligible and unknown of the Caribbean world in a way that is comprehensible and accessible to the human mind, with the objective of providing zoological continuity and closing the gaps that once separated both ‘worlds’, in other words, the semiosis of Charles Sanders Peirce.
This study focuses on the aesthetic analysis, iconographic variants, and symbolism of the common black-eared opossum (Didelphis marsupialis Linnaeus 1758) in ceramic ornaments of agro-ceramic origin of the Saladoid tradition with Barrancoid influence, located in the south of the Lesser Antilles arc and Venezuela, currently held in different collections, scientific academies, and museums around the world, particularly in the Caribbean and United States. Likewise, it will study an entire corpus of prints with descriptions and illustrations of the marsupial, the latter being elaborated by European artists through wood engravings or etchings. For this purpose, chroniclers and artists often relied on the analogical outline of Aristotle, disarticulating the didelphidae into anatomic parts to later compare them with those of other animals according to their degree of similarity, usually being with species of the so-called Old World, in order to create a ‘new’ concept, in reality, an anomalous creature, resulting from the juxtaposition of images of the ‘old’ over the ‘new’, in order to show the intelligible and unknown of the Caribbean world in a way that is comprehensible and accessible to the human mind, with the objective of providing zoological continuity and closing the gaps that once separated both ‘worlds’, in other words, the semiosis of Charles Sanders Peirce.
Description
Type
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Artículos evaluados por pares
info:eu-repo/semantics/publishedVersion
Artículos evaluados por pares
Source
Science and Society; Vol. 48 No. 4 (2023): Science and Society; 91-114
Ciencia y Sociedad; Vol. 48 Núm. 4 (2023): Ciencia y Sociedad; 91-114
2613-8751
0378-7680
10.22206/cys.2023.v48i4
Ciencia y Sociedad; Vol. 48 Núm. 4 (2023): Ciencia y Sociedad; 91-114
2613-8751
0378-7680
10.22206/cys.2023.v48i4