<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1646-740X</journal-id>
<journal-title><![CDATA[Medievalista]]></journal-title>
<abbrev-journal-title><![CDATA[Medievalista]]></abbrev-journal-title>
<issn>1646-740X</issn>
<publisher>
<publisher-name><![CDATA[Instituto de Estudos Medievais, Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1646-740X2022000100235</article-id>
<article-id pub-id-type="doi">10.4000/medievalista.5139</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Delving into the Magdalene&#8217;s vase: the ointment jar from the Middle Ages to Early Modernity]]></article-title>
<article-title xml:lang="pt"><![CDATA[Investigando o Vaso de Madalena: A evolução do vaso da unção desde a Idade Média aos inícios dos tempos modernos]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Petrick]]></surname>
<given-names><![CDATA[Vicki-Marie]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Centre National de la Recherche Scientifique École des Hautes Études en Sciences Sociales AHLOMA - Centre de Recherches Historiques]]></institution>
<addr-line><![CDATA[Paris ]]></addr-line>
<country>France</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>01</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>01</month>
<year>2022</year>
</pub-date>
<numero>31</numero>
<fpage>235</fpage>
<lpage>290</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S1646-740X2022000100235&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S1646-740X2022000100235&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S1646-740X2022000100235&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In the art of medieval and early modern Europe, Mary Magdalene can be identified by the vase she holds. Other iconographic studies of Mary Magdalene mention her ointment jar, but while images may be brought before the reader, the vase is generally mentioned as the object that permits the author to name the figure and little more. This article intends to tap the rich meanings and connotations of the vase beyond simple visual signifier in studying it - in form and materials and function - through an anthropological lens. It will do so in examining a corpus of Italian images, at the forefront of Magdalenian iconography since the invention of the &#8220;indigenous icon,&#8221; as defined by Hans Belting, and the effects of Franciscan patronage that so invested this saint with their particular strain of piety. We will see that the inventiveness of Italian artists, particularly as applied to the alabastron, continues from the 1270 panel of Guido da Siena through to the early modern era with Titian&#8217;s 1535 Pitti Magdalene. After this period, with the Counter-Reformation&#8217;s more formulaic directives, the vase seems to have lost some of its density of meaning. For the period considered, the thirteenth through the sixteenth centuries, the results will demonstrate an intimate connection with her conversion, her femaleness, and her role in the narrative of redemption.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Na arte da Europa medieval e dos primórdios da moderna, Maria Madalena pode ser identificada pelo vaso que segura. Muitos outros estudos iconográficos sobre Maria Madalena mencionam o vaso que contém os ungentos, sendo este mencionado como um dos atributos que permitem identificar a figura. Este artigo pretende explorar os ricos significados e conotações deste objecto para além do simples significante visual, estudando-o, na forma, materiais e função, através de uma perspectiva antropológica. Partirá do exame de um corpus de imagens italianas, que foram matriciais na invenção da iconografia de Maria Madalena. recorrendo ao conceito de &#8220;ícone indígena&#8221;, tal como foi definido por Hans Belting, mas ter-se-á em atenção a importância do mecenato franciscano, que tanto investiu da sua particular tensão de piedade na representação desta santa. O artigo analisa um período cronológico particularmente marcado pela criatividade dos artistas italianos, desde o painel de 1270 de Guido da Siena até ao início da era moderna com o Pitti Magdalene de Ticiano de 1535. Do século XIII ao século XVI, os resultados demonstrarão uma ligação íntima entre a conversão de Maria Madalena, a sua feminilidade, e o seu papel na narrativa da redenção. Após este período, com a atitude mais normativa da Contra-Reforma, o vaso parece ter perdido alguma da sua anterior densidade.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Vase]]></kwd>
<kwd lng="en"><![CDATA[Mary Magdalene]]></kwd>
<kwd lng="en"><![CDATA[body]]></kwd>
<kwd lng="en"><![CDATA[gender]]></kwd>
<kwd lng="en"><![CDATA[materials]]></kwd>
<kwd lng="pt"><![CDATA[Vaso]]></kwd>
<kwd lng="pt"><![CDATA[Madalena]]></kwd>
<kwd lng="pt"><![CDATA[corpo]]></kwd>
<kwd lng="pt"><![CDATA[género]]></kwd>
<kwd lng="pt"><![CDATA[materiais]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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