Romanesque school; Spain, 13th century. "Virgin... Lot 6

Romanesque school; Spain, 13th century. "Virgin and Child". Carved and polychromed wood. It has flaws in the carving and polychromy. It has damage caused by xylophages. Measurements: 104 x 40 x 24 cm. The remains of polychromy still visible in the Virgin's attire tell us of a careful decorativism that can also be seen in the modelling of the forms, especially in the Virgin's face defined by soft, curved lines. As usual, the anatomical dimensions tend towards elongation, reflecting the artist's interest in a symbolic representation. Iconographically, this is a carving that follows the typology of the "Sede Sapientiae" or "Throne of Wisdom". Mary, seated facing the viewer, acts as the throne, the seat or seat of Christ, the supreme incarnation of Wisdom, and it should also be noted that the Virgin is crowned, thus appearing as the Queen of Heaven. No emotional communication of any kind is established between the two figures, but rather the majesty, the regal aspect of both figures is encouraged. Mary, on the other hand, is shown dressed in a long tunic and cloak that fall in symmetrical folds to the ground. A veil covers her hair, framing her serene, harmonious face. She originally held a sphere in her right hand, although in this case it must allude to the apple of Original Sin. In Christian exegesis, if Eve was the introducer of Sin, Mary is its counter-figure, through whom salvation comes to the human race, thanks to her son, Jesus. Romanesque sculpture pursues mainly didactic aims, and its images are conceived as a visual narrative, which must always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.