O sagrado e o profano em Hieronymus Bosch

• Ano de defesa: 2022
• Autor(a) principal: Oliveira, Laura Beatriz Alves de
• Orientador(a): Nascimento, Renata Cristina de Sousa
• Banca de defesa: Azevedo, Hugo Rincon , Marchini Neto, Dirceu
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de Goiás
• Programa de Pós-Graduação: Programa de Pós-Graduação STRICTO SENSU em História
• Departamento: Escola de Formação de Professores e Humanidades
• País: Brasil
• Palavras-chave em Português: Sagrado; Profano; Hieronymus Bosch; O Jardim das delícias terrenas; O Juízo final; Mircea Eliade
• Palavras-chave em Inglês: Sacred; Profane; The garden of earthly delights; The last judgment
• Área do conhecimento CNPq: Ciências Humanas; História
• Link de acesso: https://tede2.pucgoias.edu.br/handle/tede/4829

Hieronymus Bosch (1450 – 1516) was a late Gothic painter who lived in Flanders during the effervescence of the Renaissance. In the works of this study “The Garden of Earthly Delights” (1490 – 1515) and “The Final Judgment” (1500 – 1510) the subjects, through the profane, exude their sins, sorrows and afflictions that come from an absence of reality, of directions and directions. The main objectives of this research are to analyze the historical processes that constituted the perceptions of the sacred and the profane in such works during the 15th and early 16th centuries. By analyzing Bosch's triptychs through a bibliographic review and by Warburg's method of image analysis, we understand that Bosch's dominant signs are carnal pleasures, and the end for those who choose a life watered with profanity. Through Mircea Eliade’s work entitled “The Sacred and the Profane” it is verified that Bosch’s subjects are absent from the sacralization of life, from the hierophany, which could save these souls from chaos by endowing their lives with meaning, guiding them to the sacred. In “The Garden of Earthly Delights” sinful illusions merged with lust and pleasure are found, being the dualistic representation of paradise in the triumph of sin. “The Last Judgment” represents the maximum condemnation for the choices of subjects with no chance of redemption. Both triptychs portray the decline of the sacred in the world through sin, the profane, being a visual discourse on morality