| Popis: |
espanolEste trabajo dilucida de que modo y con que intencion la reina Leonor Plantagenet incluyo un signo rodado o sello diplomatico, propio y singular, en dos pergaminos de 1179. Esta decision de trazar en documentos signos rodados reginales no tenia precedentes en los reinos hispanos ni en otras soberanias europeas. Leonor fue tambien la primera reina consorte que dispuso de una cancilleria reginal distinta y autonoma de la del rey. Este estudio discierne la facultad de representacion politica desempenada por el signo rodado empleado por Leonor: una mano situada en el centro de un circulo y rodeada por la intitulacion textual de reina de Toledo y Castilla. ?Que significa y representa esta mano? ?Que mensaje y semblante pretendio proyectar la cancilleria de Leonor con respecto a su poder y autoridad en la emision de estos documentos? Nuestro analisis historico y artistico formula una propuesta de comprension de la naturaleza corroborativa del signo rodado, de las intenciones politicas y simbolicas, asi como de la retorica visual que confluyeron en la confeccion de la manus, imagen politica en la autorizacion de documentos, que responderia a cuatro dimensiones y sentidos del ejercicio del poder monarquico: literal (“manuscrito”), autoridad (“mandato”), economico (“manutencion”) y aclamadora (“manifestacion”). EnglishThis work elucidates in what way and with what intention Queen Leonor Plantagenet included her very own and singular signo rodado or diplomatic seal on two parchments of 1179. This decision to draw signos rodados on queenly documents was unprecedented in the Spanish kingdoms as in other European monarchies. Leonor was also the first queen consort to have a chancellery different and autonomous from that of the king. This study discerns the faculty of political representation performed by the signo rodado used by Leonor: a hand located in the centre of a circle and surrounded by the textual title of queen of Toledo and Castile. What does this hand mean and represent? What message and personal resemblance did Leonor’s chancellery try to project concerning her power and authority in issuing these documents? Our historical and artistic analysis suggests a proposal for understanding the corroborative nature of the signo rodado, the political and symbolic intentions, as well as the visual rhetoric that converged into the making of the manus, a political image in the authorisation of documents which would respond to four dimensions and meanings of the exercise of royal power: literal (“manuscript”), authority (“mandate”), economic (“maintenance”) and acclaiming (“manifestation”). |
