1.El arcaico simbolismo de la cruz. (I. Signos y símbolos del cristianismo primitivo).

Nueva Revista de Filología Hispánica (NRFH), 1981

En este número no había resúmenes ni palabras clave.

Hispania Sacra, 2013

Transformation of sacred symbol from paleolithic to neolithic

The article deals with the symbolic meanings of Agnus Dei in the Middle Ages, its uses, reception and evolution, from the perspective of both religious and cultural history. It makes use of the analysis of the Church Fathers’ texts, Christian medieval literature, theological discourse, biblical exegesis in the medieval context, iconography, objects from churches, as well as the analysis of liturgy and mysticism. The text gives priority to an integral view of the symbol, which, beyond moral analogies, is able to explain the whole history of salvation: Agnus Dei evokes how the salvific facts of the past become present in the Eucharist and extend triumphantly into the future. KEY WORDS: Medieval religiousness, symbols, Agnus Dei, passion, Eucharist, Apocalypse

Boletín de Arte, 2018

El reino de Valencia, como otros de la Corona de Aragón y del resto de la Península Ibérica, se mostró especialmente propicio al levantamiento de cruces de término; pero los pocos estudios académicos que les han prestado atención se han detenido en su aspecto estilístico, lo que ha llevado a no pocos investigadores a comparar estas cruces con las de orfebrería. Más allá de su decoración, sin embargo, sus respectivas tipologías iconográficas presentan sustanciales diferencias. La ubicación de las cruces de término, fuera del ámbito eclesiástico, su medio material y, sobre todo, su función, podrían haber determinado las diferencias iconográficas respecto a otras cruces y, por ende, las implicaciones teológicas de unas y otras. Aquellas formaban parte del ritual litúrgico de la Iglesia, mientras que estas formaban parte de la vida diaria de la comunidad y responden, por tanto, a la religiosidad popular más que a la religión oficial. The kingdom of Valencia, other realms of the Crown of Aragon and the rest of the Iberian peninsula, proved to have a particular propensity for the erection of wayside crosses. The few academic studies that have paid attention to them have only taken into account their stylistic aspect, which has led a good few researchers to compare these works with goldsmiths´ crosses. But beyond the decoration, their subjects differ substantially. The location of the wayside crosses, outside the ecclesiastic area, their medium and especially their utility might have determined the iconographic differences with regard to other crosses and hence the theological implications of the different types of crosses. The processional crosses were part of the liturgical ritual of the Church, whereas the wayside crosses were part of the daily life of the community and they answer, therefore, to popular religiousity rather than to the official religion.

Isaac, Jacob y José: «José y sus hermanos», «Los hermanos de José conspiran contra él», «José en casa de Putifar», «José en prisión, intérprete de sueños», «Los sueños del faraón y su interpretación», «Promoción y matrimonio de José», «Primer viaje de los hermanos de José a Egipto», «Segundo viaje de los hermanos de José a Egipto», «La copa en el saco de Benjamín», «Jacob y su familia van a Egipto», «Jacob y su familia en Egipto», «Hambruna en Egipto», «Últimos años de Jacob», «Muerte y sepultura de Jacob» y «Últimos años de José».

The author focuses on two legal (and political) problems raised in recent years around certain religious symbols: in some cases, in order to defend freedom of the very people who hold them (Islamic veil and burka in women), in others to defend freedom of those who do not want those symbols expressly (crucifixes) or reject them (minarets and muezzins). He asks whether there has been historical precedents set and concludes that no, except in situations of violence. There have been, however, each of these types of problems separately. The reasoning leads him to examine, from that point of view, the Portuguese revolution of 1910, the Spanish crisis of 1931-1939 and the "confessionalisation" of European nations in the nineteenth century.

Iberia Revista De La Antiguedad, 2004

Antesteria 4, 2015

Abstract: With Constantine´s rise to power, his victory at the Milvian Bridge against Maxentius (312 A.D.) and the end of persecutions of Christians, the generalization of the motif that we present took place, the chrismon. Therefore, the emperor will use the salvific symbol that gave him the victory as a personal and dynastic emblem, minting it in his coins and placing it in his imperial mansions. After Constantine´s death, his sons and heirs will utilize the chrismon as a means of dynastic legitimation, also minting in their coins. Thus, this article aims to analyze the use of chrismon by Constantine as a new symbol of imperial power through his coins which has its continuation in the coinage of his sons, especially Constantius II, becoming a symbol of the Constantinian dynasty.

Boletín de la Hermandad de la Paz, 2021

El paso del Santísimo Cristo de la Victoria de la Hermandad de la Paz de Sevilla representa en el momento en el que Jesús recibe la Cruz para iniciar el camino del Calvario. El artículo es un breve recorrido por las representaciones artísticas de este tema, llegando a creaciones contemporáneas muy recientes.