Beasts

Unlike the international historiographic production, the art historiography in
Portugal has not yet focused profoundly on the iconographic theme generally known as
green man, despite its presence being substantial in Portuguese medieval art. With this
dissertation we aim to analyze this theme, starting from the most global methodology
possible in terms of chronology within the limits of the Late Middle Ages, and
geography within the border of the national territory of Portugal. Firstly, we felt the
need to illustrate the typological plurality of this big family, constituted by the theme of
the green man, since it raises many issues and is still being discussed and defined. As
such, the present iconography ends up adopting a diversity of names according to what
is represented and how it is represented.
We chose to guide our investigation in a way that would enable us to produce a
chronological evolution of the mentioned iconography, in the territory that is today
considered Portugal, through the collection of samples throughout the whole country.
The former task was guided by the purpose of understanding the genesis of the theme of
the green man in this territory, and to understand if we can see if there was an
importation, or not, and if there was, from which geographical areas, monastic orders or
aesthetic movements. With this exercise we attempted to establish what were the places
in which the green man was represented more frequently: within the sacred space or
within the available space in the media in which it was imprinted, and what symbolic
implications these diverse locations have in the multiple contexts where the green man
was represented. We came to the conclusion that the foliate mask, as it is also called, is
not so much a marginal iconography as one would possibly consider at first glance. A
posteriori, by observing this built diachrony, we easily notice the divergence between
typologies of representation in the transition between the epitome of the Romanesque
art and the beginning of the gothic art, as well as the new locations within the sacred
space, and in other media, in the years of the Gothic. We concluded, with this spatial
examination, that the green man behaves in a slightly different manner in the symbolic
field, between the chronologies that we usually call the Romanesque and the Gothic.
We tried, in an equal manner, to apprehend the difference operated in these two
artistic phases in the international conjuncture, and with this contextual perspective we
propose to find the distinctions between the Portuguese examples and the foreign ones,
in terms of preferences, regionalisms, chronological differences, and eventually,
specific innovations of the territory where we decided to site our work. To reach the
goal, we opted for restricting our analysis of the iconography in six paradigmatic cases
of study, which enabled us to better explore the various questions we proposed to
answer in a more practical manner. Finally, we concluded, through these case studies,
that the foliate head in Portugal ‘wears’ a very particular presence and expression,
ending up adapting itself to the specificities of the art and architecture in this country.
Keywords: green man, green beast, monster, iconography, symbology of space,
architectonic sculpture

Beastly este un roman din 2007 al lui Alex Flinn. Este o redirecționare a basmului Beauty and the Beast, amenajată în orașul modern New York, din punctul de vedere al fiarei. Flinn a cercetat multe versiuni ale poveștii Frumuseții și Bestiei pentru a-și scrie cartea.

Mythos are traditional narrative stories that belong to the history of the societies. These include mostly heroic and triumphal legends. However, the existence of legends about several gods, goddesses, or creatures with different characteristics shaped by beliefs of societies sometimes has contributed mythos to become notorious and enriched. There are times that they are dreaded or given sacrifices for protection from evil. Such belief systems are expanded with the development of trade and affected other societies. In fact, the clash of the mythos is not common, on the contrary, they are evolved into intertwined and shared narratives. For this reason, it is witnessed that some narratives are over told in various societies under different names yet with similar themes. Myths are told within the traditional pattern and listened to with the same excitement although generations change. Maritime societies experience such cultural tradeoffs more rapidly. The value that the sea adds to culture is greater than the value it adds in trade. The richness that trade creates is reflected in the lives of both people and kings evenly. As a result royalty boats of kings are improved and furnished with richer ornaments. The importance of the sea for the King and Queen of Portugal is materialized in royalty boats. The most exquisites of these boats are exhibited in Lisbon Maritime Museum. It is seen that built in the 19th century, these boats are used until the mid-20th century. On the other hand, creatures like dragons, salamanders, serpents which have an important role in Christian culture as well as other cultures can be seen on boats. Although they are beliefs that are shaped with negative connotations, it is considered that they will protect ships from evil in general. Figures like Aphrodite, Poseidon, Amphitrite, Eros, siren, nereid, triton, griffon are recognized from Greek mythology and common in several myths about sea also reflects the cultural interactions. However, it can be stated that especially figures like Aphrodite, Poseidon, Amphitrite, Eros are depicted on foreparts and sterns of boats inspired by previous gravures and drawings.
Oculus (eye) are drawn in the foreparts of some fishing boats in the museum. It is mentioned as the eye of God Horus in Egyptian iconography and it is told that Horus lost one of his eyes during his war with Seth and then the lost eye came to life again and turned into Protector Wedjat Eye. The reason that it is depicted on foreparts of boats is the belief that it protects against the devil and mythological creates that are believed to be live in the sea. It is stated that such beliefs can be seen especially in the ships in Sicily, Italy, Portugal, India, and China. Boats called São João Baptista have different symbolic and mythological elements. As oculus is drawn on foreparts, serpent head figure is drawn on sternposts rising on cutwater. Also, there is sheepskin on the short mast on the forecastle. It is written on the publicity board of the museum that there is a fishing boat which is used in Alvarge shores and unprecedented in today. The serpent is common in several mythologies and in general, it is associated with the underworld and characterized as an evil being.
In the museum publicity board, it is written that boat named Moliceire was built by Henrique Ferreira da Costa in Pardilhó in 1964 and used in Aveiro lagoon for fishing and transportation. There is a rooster figure on the afterpart of the boat. Rooster is accepted as a symbol of the sun in Christian iconography and considered as sacred as it awakens people from night, dreams, and pleasure and symbolizes to be awake against malignancies and evil. There are lightning rods and windmills with rooster drawings on top of churches and bell towers as it is associated with destroying evil forces by incurring them.
In this regard, the royalty boat with the richest ornaments is the boat called "Bergantim Real" which was built during the reign of Maria I, in 1778 and used during the engagement ceremony of his son Prince Joāo (Joāo VI) according to the information of publicity board of the museum. Dragon, griffon, and serpent figures are depicted on this boat. To give an example to ships with dragon figures, there is forepart adornment of Historical Galiot with inventory number 221, porthole arch of Mahmudiye Galleon with inventory number 223 in Istanbul Maritime Museum, figurehead with inventory number SM 30166 exhibited in Stockholm Sjöhistorika Museet, and figurehead with inventory number 62 in Museo Tecnico Navale in La Spezia. Another ship with griffon depiction is stern ornaments of Vasa ship built in 1628 on which there is a depiction of two griffon kings opposing and protecting the crown.
Another royalty boat exhibited in Lisbon Maritime Museum is called "Galeota Da Alfândega". It is written on the publicity board of the museum that it was built in the last quarter of the 18th century and 12 paddlers were labored. There is a dragon figure with wings and its body covered with scales mounted on the boat as relief although it was made with wood carving technique.
It is written on the publicity board of the museum that the boat named "Saveira Doirada" was built by Queen Maria I in 1790 and used by his son Joāo (Joāo VI) and his wife Princess Carlota Joaquina. It was mounted on the forepart of the boat with relief technique while it was made by wood carving technique. Its body is not covered with scales as in dragon figures but its intimidating and formidable nature is tried to be emphasized with an open mouth and sharp teeth.
Nevertheless, unique figures of Portugal mythology can be seen in the Museum. For example, the rooster is a sacred animal in Portugal and it is embroidered in their boats. Additionally, the scary creature Adamastor which represents the enemy and unknown is a unique mythological figure in Portugal. As more ethnic and unique mythological elements such as oculus and rooster can be seen in fishing boats in Lisbon Maritime Museum, it can be said that there are mythos figures enriched with cultural interactions in royalty boats. It can be considered that altering names of mythological figures bring authenticity but all kinds of being with similar characters have existed always in various cults.

Удовиченко І. Битва з чудовиськом: язичницька, християнська та постмодерністська версія, зображена на предметах ювелірного мистецтва// Науковий вісник Національного музею історії України. Збірник наукових праць. Випуск 4/ Відп. ред. Б. К. Патриляк. – Київ: Національний музей історії України, 2019. – С.492-504.