Publications
Paintings in the Church of San Julián de los Prados in Oviedo. An Analysis of Aniconic Paintings in the Framework of Art in the Mediterranean
The Church of San Julián de los Prados in Oviedo features unique aniconic paintings that challenge traditional understandings of medieval Iberian art. These paintings, devoid of human figures but adorned with geometric patterns and golden crosses, suggest a deliberate artistic choice influenced by the Asturian monarchy's desire to assert its authority while drawing from both Roman heritage and contemporary Mediterranean trends. The study critically examines past research, comparing these works to those in Ravenna, Thessaloniki, and Damascus, while exploring potential links to iconoclasm and 'adoptionist heresy' beliefs prevalent in 9th-century Iberia. Through a fresh analysis of historical and artistic evidence, the research sheds light on the theological and political motivations behind this distinctive body of work.
Sculture asturiane del IX secolo
Asturian art, particularly during the reign of King Ramiro I, exhibits a distinct and original style characterized by significant architectural and sculptural achievements. This 'Ramirense' period, marked by maturity in the Kingdom of Asturias, is represented by masterpieces such as the Santa María de Naranco palace and the San Miguel de Liño palatine church, both located near Oviedo on Monte Naranco. While the Santa Cristina de Lena church is also linked to this style, its attribution remains debated among scholars, with some associating it with King Ordoño I. The research highlights the importance of sculptural decoration in these monuments, contributing to the understanding of artistic development during this pivotal era.
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