<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-06-19T11:52:51Z</responseDate><request verb="GetRecord" identifier="oai:riubu.ubu.es:10259/7367" metadataPrefix="qdc">https://riubu.ubu.es/oai/request</request><GetRecord><record><header><identifier>oai:riubu.ubu.es:10259/7367</identifier><datestamp>2023-02-02T01:05:31Z</datestamp><setSpec>com_10259_7355</setSpec><setSpec>com_10259_7353</setSpec><setSpec>com_10259_2604</setSpec><setSpec>col_10259_7356</setSpec></header><metadata><qdc:qualifieddc xmlns:qdc="http://dspace.org/qualifieddc/" xmlns:doc="http://www.lyncode.com/xoai" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:dc="http://purl.org/dc/elements/1.1/" xsi:schemaLocation="http://purl.org/dc/elements/1.1/ http://dublincore.org/schemas/xmls/qdc/2006/01/06/dc.xsd http://purl.org/dc/terms/ http://dublincore.org/schemas/xmls/qdc/2006/01/06/dcterms.xsd http://dspace.org/qualifieddc/ http://www.ukoln.ac.uk/metadata/dcmi/xmlschema/qualifieddc.xsd">
<dc:title>Imaginarios de lo sagrado en la pintura de Juan de Flandes</dc:title>
<dc:creator>Redondo Cantera, María José</dc:creator>
<dc:subject>Pintura flamenca</dc:subject>
<dc:subject>Siglos XV-XVI</dc:subject>
<dc:subject>Juan de Flandes</dc:subject>
<dc:subject>Modelos arquitectónicos</dc:subject>
<dc:subject>Imagen de Jerusalén</dc:subject>
<dc:subject>Escenografía y simbolismos</dc:subject>
<dc:subject>Flemish Painting</dc:subject>
<dc:subject>15-16th centuries</dc:subject>
<dc:subject>Architectural patterns</dc:subject>
<dc:subject>Jerusalem's image</dc:subject>
<dc:subject>Scenography and symbols</dc:subject>
<dcterms:abstract>Una mirada atenta a la pintura de Juan de Flandes, del que sólo se conoce su actividad en España,&#xd;
revela la pervivencia de muchos recursos expresivos de su procedencia flamenca, aunque no&#xd;
transcritos de forma literal, sino pasados por el tamiz de su sensibilidad. En sus figuraciones de&#xd;
paisajes, arquitecturas, ambientes y personajes añadió su propia interpretación sobre la condición moral de todos ellos. Lo patético, lo bello, lo grotesco y lo poético tuvieron su lugar en una&#xd;
narración religiosa teatralizada, que se presentaba transcendida y a un tiempo cercana a los ojos&#xd;
del espectador.</dcterms:abstract>
<dcterms:abstract>An attentive look at the painting of Juan de Flandes, who is only known to have worked in&#xd;
Spain, reveals the survival of many expressive resources of his Flemish origin, although not&#xd;
transcribed literally, but passed through the nuance of his sensitivity. In his figurations of&#xd;
landscapes, architectures, environments and characters, he added his own interpretation of the&#xd;
moral condition of all of them. The pathetic, the beautiful, the grotesque and the poetic had their&#xd;
place in a dramatized religious narrative, which was transcended and at a time close to the eyes&#xd;
of the viewer.</dcterms:abstract>
<dcterms:dateAccepted>2023-02-01T10:52:30Z</dcterms:dateAccepted>
<dcterms:available>2023-02-01T10:52:30Z</dcterms:available>
<dcterms:created>2023-02-01T10:52:30Z</dcterms:created>
<dcterms:issued>2022-07</dcterms:issued>
<dc:type>info:eu-repo/semantics/article</dc:type>
<dc:identifier>2952-1084</dc:identifier>
<dc:identifier>http://hdl.handle.net/10259/7367</dc:identifier>
<dc:identifier>10.36443/sarmental.48</dc:identifier>
<dc:identifier>2952-1084</dc:identifier>
<dc:language>spa</dc:language>
<dc:relation>Sarmental. 2022, n. 1, p. 61-84</dc:relation>
<dc:relation>https://doi.org/10.36443/sarmental.48</dc:relation>
<dc:rights>http://creativecommons.org/licenses/by-nc-nd/4.0/</dc:rights>
<dc:rights>info:eu-repo/semantics/openAccess</dc:rights>
<dc:rights>Attribution-NonCommercial-NoDerivatives 4.0 Internacional</dc:rights>
<dc:publisher>Universidad de Burgos. Cátedra de Estudios del Patrimonio Artístico Alberto C. Ibáñez</dc:publisher>
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