Leonardo Caetano de Almeida

O SENHOR BOM JESUS DE PIRAPORA:

Introduction

O senhor bom jesus de pirapora: . Explore a devoção e história do Senhor Bom Jesus de Pirapora, um patrimônio paulista. Analisamos a imagem barroca do Ecce Homo, sua iconografia e impacto cultural desde 1725.

Abstract

A devoção ao Senhor Bom Jesus de Pirapora iniciou-se em 1725, há exatos 300 anos, com o encontro de uma imagem do Ecce Homo às margens do rio Tietê. Nas proximidades do local do prodigioso achado da escultura, constituiu-se um povoado, atual município de Pirapora do Bom Jesus. O histórico Santuário que abriga a imagem do Bom Jesus é um centro de peregrinação de milhares de romeiros, especialmente em tempos de festas patronais, um legítimo patrimônio imaterial paulista, repleto de tradicionais manifestações de piedade e cultura popular. A imagem barroca do Senhor Bom Jesus é um exemplar escultórico representativo da transição do século XVII para o XVIII. Dessa forma, buscamos compreender os elementos identitários do Ecce Homo com base em uma análise iconográfico-iconológica, considerando os ideais da Contrarreforma e as diversas manifestações artísticas relativas à Paixão de Cristo, mormente do período medieval em diante e que encontraram seu ápice no Barroco.

Review

This paper, titled "O Senhor Bom Jesus de Pirapora," presents a compelling historical and art-historical examination of a significant Brazilian religious devotion. It centers on the three-century legacy of the Senhor Bom Jesus de Pirapora, originating from the miraculous discovery of an Ecce Homo image in 1725 along the Tietê River. The abstract effectively establishes the sanctuary and its venerated image as a pivotal center of pilgrimage and a vital component of Paulista intangible cultural heritage, deeply embedded with popular piety and cultural manifestations. This introductory framing clearly articulates the study's relevance to both regional history and broader religious studies. The core of this research promises a rigorous iconographic-iconological analysis of the Baroque image, identified as a key sculptural exemplar representing the transition from the 17th to the 18th century. The authors wisely propose to contextualize the Ecce Homo within the profound ideological framework of the Counter-Reformation and the rich artistic traditions depicting the Passion of Christ, tracing influences from the medieval period onwards, culminating in the Baroque. This interdisciplinary approach, merging art history, theological context, and cultural studies, is a significant strength, suggesting a nuanced understanding of how sacred art functions within its historical and social milieu. By aiming to comprehend the "identity elements" of the Ecce Homo, this study is poised to make a substantial contribution to the fields of Brazilian art history, religious studies, and cultural anthropology. Marking the tercentenary of the devotion's inception, the research offers a timely and important investigation into how sacred objects not only reflect but also actively shape communal identity and cultural practices. The detailed analysis outlined in the abstract suggests that the paper will undoubtedly shed new light on a crucial aspect of Brazilian religious and artistic patrimony, enriching scholarly discourse on popular piety and Baroque art in Latin America.

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