miniatures of two codices

We all know that Galicia was Europe in the Middle Ages. Daquela Galicia built of Romanesque stone and a Romanesque fala in which they sang xograres. Own style, mixed with foreign ingredients, manifested in reality with a differentiated artistic emphasis. At that time, they came up with the creative notes of distinctive Romanesque art. Among many others, the sculptures of Praterías Compostelas or Pórtico de Mateo are illustrative examples of art. Sculpture, architecture, poetry, tiveron, as no one knows, prestigious, universal, manifestations in the Galician media Idade.

But we will not repeat this well-known topic. Or our purpose is to go towards a less widespread tradition, for which we feel a special interest. Let’s take a look at the miniatures of the two Codexes. The masters of illumination found themselves open to the uncertainties of the times. He thought carefully, authentically. Illuminated treasures opened up a panorama of life, of intense realism. The same movement revealed the figures. They called us to attention, especially, or tino acado mutas veces nas composicións. Even the scenes that would have been a serious embarrassment for a hox artist were handled elegantly and gracefully.

We were also surprised by the desire to group characters, faces, attitudes that reflected their intimate feelings. By force together with the garrideza things that occasionally appeared, such amantiñas figures were dealt with. O ingenuo do pequeño, o tempo vasto, the stage that has not moved. All the same as animo dunha intense seduction. In the best miniatures of the codex, everything hummed with sincerity, delicious innocence, plastic expression.

Miniaturists have transmitted more authentic characteristic miniatures of the country. They were perfect masters of arte da cor. They shared a facendo gala dun amazing balance. They finished the animated symphony. In this symphony green, or crimson, or purple, or cinnabar, or sienna, or white, appeared harmoniously combined. These were also the illuminations carried out by the miniaturists of the two codes where they invented Romanesque and Gothic painting. Since this is so, it is not regrettable that a consequent pictorial work of autochthonous roots was created in Galicia. The mineral-rich country remains encouraged to think positively.

On the other hand, Galicia, Europeanized to the extent of the Cluniac poles, sees it as one of the two most powerful centers of medieval civilization. Compostela means use as a cosmopolitan village. The Galician land, spiritually fertilized by the current that followed Galicianism, spread European influences through Portugal and Castelo. Well, you might think that those who brought Romanesque art here would also bring Byzantine painting. Galicia also had to put up with French and Flemish painters, when the Church of Santiago and Pazo de Xelmírez were built. If so, as it probably was, it is possible to situate Galician-Portuguese painting as the orixes, therefore dunha. The miniatures of the two codices confirmed their extremely significant existence, and there is also a suspicion of a contemporary pictorial work that has not been preserved.