{"id":259133,"date":"2020-04-30T12:33:57","date_gmt":"2020-04-30T10:33:57","guid":{"rendered":"https:\/\/casanatense.cultura.gov.it\/sin-categorizar\/el-pergamino-exultet-casanatense\/"},"modified":"2024-08-29T12:37:17","modified_gmt":"2024-08-29T10:37:17","slug":"el-pergamino-exultet-casanatense","status":"publish","type":"post","link":"https:\/\/casanatense.cultura.gov.it\/es\/editoriales\/el-pergamino-exultet-casanatense\/","title":{"rendered":"El pergamino Exultet casanatense"},"content":{"rendered":"

[et_pb_section fb_built=\u00bb1″ admin_label=\u00bbsection\u00bb _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb da_is_popup=\u00bboff\u00bb da_exit_intent=\u00bboff\u00bb da_has_close=\u00bbon\u00bb da_alt_close=\u00bboff\u00bb da_dark_close=\u00bboff\u00bb da_not_modal=\u00bbon\u00bb da_is_singular=\u00bboff\u00bb da_with_loader=\u00bboff\u00bb da_has_shadow=\u00bbon\u00bb da_disable_devices=\u00bboff|off|off\u00bb][et_pb_row admin_label=\u00bbrow\u00bb _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb theme_builder_area=\u00bbpost_content\u00bb][et_pb_text admin_label=\u00bbText\u00bb _builder_version=\u00bb4.27.0″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb sticky_enabled=\u00bb0″]<\/p>\n

\"\"<\/a>El t\u00e9rmino Exultet<\/em> indica tanto la f\u00f3rmula de la bendici\u00f3n<\/em> del cirio que ten\u00eda lugar durante la Vigilia Pascual como el rollo en el que lo encontramos escrito.
\nEn la Italia medieval, en la zona de Benevento, entre los siglos X y XIV, este canto de alabanza, que constitu\u00eda el punto culminante de la celebraci\u00f3n, se transcrib\u00eda repetidamente en rollos de pergamino formados por hojas cosidas entre s\u00ed, donde el texto iba acompa\u00f1ado de ricas miniaturas que representaban tanto escenas del Antiguo y del Nuevo Testamento como las distintas etapas del rito. <\/p>\n

ElExultet<\/em> muestra una arquitectura muy particular de la p\u00e1gina: las im\u00e1genes est\u00e1n, de hecho, en sentido contrario al texto.
\nEsto se debe a que, mientras el texto era proclamado por el oficiante, que se situaba en el amb\u00f3n junto al cirio pascual, las im\u00e1genes se dirig\u00edan a los fieles, que en la mayor\u00eda de los casos eran incapaces de leer el texto escrito, y mucho menos de comprender su significado. <\/p>\n

As\u00ed, mientras el oficiante dejaba caer el pergamino durante la lectura, la asamblea pod\u00eda seguir la ceremonia gracias a un verdadero texto ic\u00f3nico, una Biblia pauperum<\/em> a todos los efectos.
\nEsto explica tambi\u00e9n el gran tama\u00f1o y la riqueza de las ilustraciones, que as\u00ed pod\u00edan disfrutarse tambi\u00e9n a gran distancia. <\/p>\n

El llamado \u00abRollo Casanatense\u00bb consta de tres partes Benedictio fontis<\/em> Ms 724\/I Pontifical<\/em> Ms 724\/II Exultet<\/em> Ms 724\/III<\/strong><\/p>\n

\n

El evocador v\u00eddeo que presentamos a continuaci\u00f3n gracias a la cortes\u00eda de su autora, la Prof. Bissera Pentcheva (Departamento de Historia del Arte, Universidad de Stanford), que lo realiz\u00f3 con la colaboraci\u00f3n de la Biblioteca Casanatense en el marco de su investigaci\u00f3n \u00abIconos sonoros y el concepto de choros en el arte medieval\u00bb, pretende revivir la atm\u00f3sfera, las luces, los sonidos, las melod\u00edas que compon\u00edan el mundo de la religiosidad medieval en el que elExultet<\/em> era protagonista.[ficha de Ilaria Vercillo<\/em>].<\/em><\/p>\n

Del texto de la introducci\u00f3n al v\u00eddeo:<\/p>\n

El Exultet es una larga oraci\u00f3n que se canta la noche de Pascua, cuando el di\u00e1cono sube la escalera del amb\u00f3n y el obispo enciende el cirio pascual. <\/em>El interior en penumbra est\u00e1 iluminado por una sola voz y una sola luz, y el ritual gira en torno a este eje central. <\/em>La m\u00fasica de la oraci\u00f3n del Exultet consta de una estructura sencilla y repetitiva.
\nConsta de cuatro fragmentos mel\u00f3dicos que se repiten con algunas variaciones. <\/em><\/p>\n

La melod\u00eda c\u00edclica evoca la imagen de las estrellas en \u00f3rbita, que son modelos del cuerpo resucitado. <\/em>El movimiento circular utilizado en la m\u00fasica y el gesto de desenrollar el rollo del Exultet, los dibujos circulares en el suelo, expresan la idea del Choros, una danza y un canto juntos, a trav\u00e9s de los cuales la humanidad entra en armon\u00eda con la esfera divina.<\/em><\/p>\n

\n

Bissera Pentcheva ya ha publicado en este campo con\u00abHagia Sophia: Sound, Space and Spirit in Byzantium<\/a>\u00bb (Pennsylvania State University Press, 2017), por el que recibi\u00f3 el premio de la Academia de Estudios Medievales de Am\u00e9rica en 2018.
<\/a><\/p>\n

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