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Journal articles on the topic 'Arms/Coat of Arms'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Szekeres, Attila Istvan. "The Evolution of the Szekler Community’s Coat of Arms." Мaкедонски хералд - Macedonian Herald, no. 22 (August 20, 2024): 3–14. https://doi.org/10.47763/mher.2024.6537.

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The heraldic literature mentions an ‘old’ and a ‘newer’ Szekler coat of arms. The ‘old’ coat of arms survived in several places from the end of the 15th century in the most frequented receptacle of the community, in the churches. The ’old’ Szekler coat of arms lived on the coats of arms of two towns and one county. The elements of the ‘newer’ Szekler coat of arms, the sun and the crescent moon gradually found their way into the official coats of arms in the era of the Principality of Transylvania. The ruling princes, next to their family coats of arms, included the symbols of the Transylvanian

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Sipavičiūtė, Justina. "Herbai Lietuvos Metrikoje Lietuvos Didžiojoje Kunigaikštystėje XVI amžiuje." Lietuvos istorijos studijos 53 (June 25, 2024): 8–18. http://dx.doi.org/10.15388/lis.2024.53.1.

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The aim of this article is to analyse the way coats of arms were described in the Lithuanian Metrica. This article takes a deep look at the circumstances that led to the mention of a coat of arms in the Lithuanian Metrica. Was it important for a nobleman of that time to name their coat of arms, and what was depicted on it? And if so, how detailed was its description? Published and unpublished books of the Lithuanian Metrica have revealed a lot of important material about coats of arms. The research has shown that the largest part of the Lithuanian Metrica is made up of files where coats of arm

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3

Albert, Zoltán Máté. "Short History of the so-called Kossuth Coat of Arms after 1945." Ephemeris Hungarologica 2, no. 2 (2022): 5–26. http://dx.doi.org/10.53644/eh.2022.2.5.

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One of the historical forms of the Hungarian coat of arms called the ‘Kossuth coat of arms’ raises a number of questions. Perhaps the most important is the complex problem of the relationship between this symbol and the republican form of government. This coat of arms was named after Lajos Kossuth, who was the Governor-President of Hungary after the dethronement of the House of Habsburg-Lorraine (14 April 1849). Despite of the use of crownless coats of arms by the Hungarian leadership after April 1849, the change of form of government was not proclaimed. After the Second World War, the ‘republ

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Agafonov, Anatoly I. "The Coat of Arms of the Count's Russian Empire Dignity and Its Version of the General of Cavalry, Ata-man of the Don Army Count M.I. Platov." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 3 (September 30, 2024): 43–52. http://dx.doi.org/10.18522/2687-0770-2024-3-43-52.

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The coat of arms and its versions of Count M.I. Platov are considered for the first time in the scientific literature, their origin, composition, symbolism, role and significance in consolidating the image of a cavalry general, a military ataman of the Don Army in the historical memory of the peoples of Russia and Europe. The highly approved coat of arms of M.I. Platov, little known to contemporaries, was distributed in independent, attributed versions, which played an important role in visualization, strengthening the authority of the “whirlwind chieftain”. It is proven that these versions ar

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Andrieș-Tabac, Silviu. "Chronicle of the elaboration of new heraldic and vexillological symbols of Chișinău municipality and its sectors." Dialogica 3 (November 15, 2020): 19–36. https://doi.org/10.5281/zenodo.4275319.

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On March 2, 2020, the President of the Republic of Moldova signed Decree no. 1475- VIII regarding the registration of some territorial symbols of Chișinău municipality. By this act, the urban signs, approved by the Decision of the Chișinău Municipal Council no. 5/2 of December 19, 2019, were registered in the General Armorial of the Republic of Moldova: the coat of arms and the flag of Chișinău municipality and the coats of arms and flags of the Botanica, Buiucani, Centru, Ciocana and Râșcani sectors. The new municipal coat of arms is a “large coat of arms”, which preser

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Obradović, Filip. "Coat of arms and the flag of municipality Kosovska Mitrovica." Bastina, no. 51 (2020): 449–57. http://dx.doi.org/10.5937/bastina30-27022.

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Heraldic is the auxiliary science of history that deals with the research of coat of arms and vexillology is the science that emerged from heraldic and deals with the study of flags. The first town coats of arms in the South-Slavic area appeared in 13th century and some much later. Kosovska Mitrovica is a city in the North of Kosovo and Metohija in the Republic of Serbia and it got its first real coat of arms-emblem after World War Two. The municipal authorities announced the competition for the new coat of arms that was published in "Vecernje Novosti" in 2011. Nine works participated in the c

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7

Adamczewski, Marek. "W sprawie nowego herbu gminy i miasta Szadek." Biuletyn Szadkowski 12 (December 30, 2012): 5–21. http://dx.doi.org/10.18778/1643-0700.12.01.

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The coat of arms for the town and commune of Szadek was designed and approved in 1990, in accordance with law in force at that time. It was, however, done without consulting heraldists and historians specializing in municipal coats of arms from the period of I Republic of Poland, or persons professionally designing emblems for contemporary municipalities. Consequently, a number of mistakes were made, the most important being that it only partly resembles the town’s heraldic arms from the mid-16th century or the coat of arms from the 17th century, which was incorporated in the altar of Szadek’s

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8

Agafonov, Anatoly I. "Original (Unapproved) M.I. Platov Noble Coats of Arms on Engraved Portraits." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 2 (June 26, 2024): 27–35. http://dx.doi.org/10.18522/2687-0770-2024-2-27-35.

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For the first time, engraved coat of arms portraits of the cavalry general, military Ataman of the Don Army, Count M.I. Platov, are studied, their origin and role in visualizing the image of the Don Ataman among the highest generals and dignitaries, the population of the Russian Empire, the royal and imperial families of Europe are considered. The article analyzes the noble coats of arms of M.I. Platov, their construction and forms, accompaniment, content, heraldic and non-heraldic symbols. It is proved that the coats of arms depicted on the engraved portraits are not approved, independent, an

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9

Olianina Svitlana. "IMAGES-METAPHORS IN THE ORNAMENTATION OF UKRAINIAN ICONOSTASIS OF THE BAROQUE PERIOD." World Science 2, no. 12(40) (2018): 49–55. http://dx.doi.org/10.31435/rsglobal_ws/30122018/6276.

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   In this paper, I adduce new evidence that the decorative program of Ukrainian iconostasis contained the images-metaphors and one of them was a coat of arms of the donor. The iconoraphic programme of the Ukrainian iconostasis, during the 17th — 18th centuries is regularly complemented by coats of arms of Hetmans, Cossack leaders and high- ranking Orthodox clergy. These images are placed in the antependium of iconostases, usually there are several coats of arms and they belong to different family members. Accommodation of the groups of coats of arms in the iconostasis, not j

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10

Holii, Roman. "Methods of classification of sphragistic monuments (the case of Galician village seals of the late modern period)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 15(31) (2023): 428–49. http://dx.doi.org/10.37222/2524-0315-2023-15(31)-14.

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The article deals with the theoretical and practical aspects of the classification of sfragistic monuments. The article reveals the main highly specialized concepts that are required for the scientific description of spragistic material. There are various classification methods for seals. In particular: by type, by carving, by material, by type of image, by legal functions, by the method of sealing, by form, by epochs, by owner. Moreover, each specialist chooses these approaches for the classification of sphragist materials that correspond to the subject and chronological boundaries of the stu

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Adamczewski, Marek. "Dziewiętnastowieczny projekt herbu Rychwała. Wyrozumowana kreacja historyków i heraldyków z 1847 roku." Polonia Maior Orientalis 9 (June 2022): 93–101. http://dx.doi.org/10.4467/27204006pmo.22.005.15927.

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W 1847 r. historycy i heraldycy związani z Heroldia Królestwa Polskiego przygotowali „Album herbów miast polskich” z 456 projektami herbów miast leżących na terenie zaboru rosyjskiego. Wśród wówczas zaprojektowanych znaków był herb Rychwała. Herb historycznego miasta – w tym herb Rychwała – powinien odwoływać się do znaków używanych przez to miasto w przeszłości. Heraldycy, zajmujący się herbami miejskimi, sięgają więc po dawne pieczęcie lub inne źródła, które umożliwiają im rekonstrukcję zapomnianego herbu. Pracownicy Heroldii Królestwa Polskiego w 1847 r, nie odnaleźli jednak pieczęci Rychwa

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Martynenko, V. A., A. A. Zharov, and V. A. Sidorov. "Techno-heraldry of Donbass cities." Glavnyj mekhanik (Chief Mechanic), no. 11 (October 7, 2022): 720–33. http://dx.doi.org/10.33920/pro-2-2211-06.

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A feature of the coats of arms of the cities of Donbass is the presence of technical symbols (hammers, gears, adjustable and other wrenches, railway wheelset, pencil, anchors, copras, cowpers, etc.) and industrial landscapes that reflect the industrial specifics of the region. So it was at each of the stages of heraldic reforms and will remain a good tradition at the next stage. The coat of arms is an emblem, a distinctive sign on which objects are depicted symbolizing the owner of the coat of arms (a person, estate, clan, city, country, etc.). The creation of a coat of arms is subject to cert

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13

Nöthling, F. J. "Die ontwikkeling van die Brakpanse munisipale wapen 1920-1966." New Contree 10 (July 11, 2024): 3. http://dx.doi.org/10.4102/nc.v10i0.805.

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The municipal coat of arms approved by the Brakpan Town Council in 1920 was not of sound heraldic design. This, however, only became an issue when the Heraldry Society of Southern Africa called upon the Council to eliminate the heraldic defects in it, so that a badly designed shield should be excluded from a proposed exhibition of municipal coats of arms during the Union festival (1960). The Council nevertheless decided to retain its coat of arms. When a new building for the Transvaal provincial administration was erected, it was decided that only municipal coats of arms of sound heraldic desi

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Оdak, Marina, and Radoslav Raspopović. "Coat of arms of Petrović from the 18th century and the formation of the first modern coat of arms of Montenegro." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (2023): 04–25. http://dx.doi.org/10.31166/voprosyistorii202308statyi59.

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In the 18th century, the development process of Montenegro's coat of arms began with the emergence of the first modern era coat of arms at the time of Metropolitan Danilo, preserved as a drawing in Russia, when the double-headed eagle symbol was introduced to the coat of arms, as a motif indicating the heritage of the Nemanjić and Crnojević dynasties. In addition to the eagle, there is mention of a lion on the metropolitan's coat of arms, which was found on a tombstone, lost to history, from his original grave at Podostrog Monastery - though there is no data as to what the coat of arms looked

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15

Grephenstein, Alexander. "Why Do Children Make Coats of Arms?" ISTORIYA 15, no. 7 (141) (2024): 0. https://doi.org/10.18254/s207987840032114-4.

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The author analyzes the tendency of teenage children (13—15 years old) to independently create coats of arms. Schoolchildren received an optional task - to make a coat of arms of a family, class, school, city, usually without any information or methodological support. The work involved a conversation about the rules of heraldry; familiarity with examples of coat of arms creation; presentation of projects by authors and their collective discussion. The difference in the technical skill of the performers made it difficult to assess the actual heraldic merits. A total of 31 draft coats of arms we

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16

Hlebionek, Marcin. "Territorial Coats of Arms on the Crown Seals of King Stanisław August." Res Historica 55 (July 20, 2023): 281–304. http://dx.doi.org/10.17951/rh.2023.55.281-304.

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A wreath of territorial, and later also state and dynastic coats of arms, as an element of the composition of Polish royal seals, appeared at the turn of the 14th and 15th centuries. Initially, it was placed on the seals of majesty, later on the broad (chancellor's) seals of the Crown and Lithuania, and from the times of John Casimir also on the small (sub-chancellor) Crown seals. A set of these coats of arms was created during the reign of King Michael. In general, however, in the field of territorial heraldry, it was characterized by quite high stability, and the land coats of arms introduce

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17

Gyekye, Daniel Appiah. "Decoding the Ghanaian Coat of Arms: A Semiotic Analysis of Its History, Language, Ideology, Denotation, and Connotation." Journal of Advanced Research in Social Sciences 8, no. 2 (2025): 142–66. https://doi.org/10.33422/jarss.v8i2.1334.

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The impact of colonialism on the economic development, education, language, and religious systems of Sub-Saharan Africa, particularly Ghana, is a critical area of study. This semiotic analysis of the Ghanaian Coat of Arms aims to decode the symbols and signs to shed light on how colonial legacy shapes modern Ghana and other African nations. The Coat of Arms, found on official government documents and currency, is often overlooked in terms of its symbolic significance in post-colonial and contemporary Ghanaian history. Guided by the research questions, the study explores how the semiotic concep

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18

Albert, Zoltán Máté. "Short History of the so-called Kossuth Coat of Arms after 1956." Ephemeris Hungarologica 3, no. 2 (2023): 5–19. http://dx.doi.org/10.53644/eh.2023.2.5.

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The so-called Kossuth coat of arms (together with the national flag with a hole in the middle) became the symbol of the Hungarian Revolution and War of Independence of 1956. Although the Soviet Union repressed the Hungarian Revolution on 4 November 1956, the Kossuth coat of arms remained the symbol of the state from late 1956 to early 1957. Moreover, a peculiar version of it (the second field of the coat of arms changed from red to blue) appeared. At the time of the fall of communism in Hungary, an important question was which version of the historical forms of the Hungarian coat of arms would

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19

Jasiūnienė, Gabrielė. "Herbas kilmingos XVII–XVIII a. Lietuvos Didžiosios Kunigaikštystės moters gyvenime – svarbi identiteto dalis." XVIII amžiaus studijos T. 8: Lietuvos Didžioji Kunigaikštystė. Vyrai ir moterys, T. 8 (December 19, 2022): 28–45. http://dx.doi.org/10.33918/23516968-008003.

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The Coat of Arms in the Life of a Noblewoman in The Seventeenth-Eighteenth Century Grand Duchy of Lithuania: An Important Part of Identity Heraldry and its research have deep traditions in Europe. In Lithuania, interest in this field is a more recent phenomenon. The late beginning of heraldry research was partly influenced by the loss of Lithuania’s independence. At present, researchers’ attention is focused mainly on the periods of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth, also looking at Lithuanian heraldry of the twentieth and the twenty-first centuries, and condu

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20

Agafonov, Anatoly I. "Kalmyk Motifs in Russian and Don Heraldry." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 2 (218) (June 23, 2023): 51–61. http://dx.doi.org/10.18522/2687-0770-2023-2-51-61.

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Ethnic symbols in Russian and Don heraldry are studied on the example of the princely families of the Dondukovs, the Dondukovs-Korsakovs, the noble families of the Korsakovs, first of all their visual accompaniment - coats of arms, which allowed to determine the place and status of the owners in the noble hierarchy of the Russian Empire. The rights and privileges, possession/non-possession of titles, their reflection and changes in the identification symbols of various historical epochs are considered. It is shown that the establishment of the princely Dondukov family and the formation of the

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21

Kravchenko, Nadiia. "Hunting heraldry of the Volyn and Kyiv regions in the 16th – early 17th centuries." Text and Image: Essential Problems in Art History, no. 1 (2021): 45–63. http://dx.doi.org/10.17721/2519-4801.2021.1.03.

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The article is devoted to the subjects and symbolism in the hunting heraldry of the Volyn and Kyiv regions in the 16th – early 17th centuries. Among the innovations of this time period is the appearance of atypical imagery in Ukrainian heraldry, namely that of wild animals and hunting horns. The author analyzes the well-known coats of arms associated with hunting, their prevalence and probable reasons for their obscurity in these areas compared to the Kingdom of Poland. In the early modern period, nobility used heraldic signs and legends to emphasize their ancient origins, land tenureship and

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22

Castañeda de la Paz, María. "The Texcoco Coat of Arms." Ethnohistory 69, no. 2 (2022): 163–95. http://dx.doi.org/10.1215/00141801-9522171.

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Abstract During the last couple of years, the Texcoco coat of arms has received much attention, yet there is no agreement on the interpretation of some of its heraldic elements or its date and authorship. In this article the author presents a new iconographic study accompanied by a review of an important part of Texcoco’s history to demonstrate that the goal of the artist who painted this coat of arms was to exalt that city’s most significant political events: Nezahualcoyotl’s conquest of the Acolhua capital of Coatlinchan and the relocation of its court to Texcoco. Various additional aspects

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Granić, Slavko. "The Croatian Coat of Arms." Journal of Croatian Studies 34 (1993): 5–28. http://dx.doi.org/10.5840/jcroatstud1993-9434-351.

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24

Valman, B. "Achieving a coat of arms." Archives of Disease in Childhood 87, no. 2 (2002): 90. http://dx.doi.org/10.1136/adc.87.2.90.

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Bignami, Giovanni F. "The microscope's coat of arms." Nature 405, no. 6790 (2000): 999. http://dx.doi.org/10.1038/35016689.

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Tchernikh, Alexandr. "Diego de Valera and his Treatise on Coats of Arms (15th century)." Latin-American Historical Almanac 30, no. 1 (2021): 21–55. http://dx.doi.org/10.32608/2305-8773-2021-30-1-21-55.

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Monuments of heraldic reflection – heraldic treatises – are of particular value. Diego de Valera grew up among the Castilian nobility at the be-ginning of the 15th century, began a knightly «caree»" at the age of 15, and was elevated to the dignity of knighthood. He visited many Euro-pean countries, took part in tournaments. He is one of the most famous writers of the late Middle Ages, the author of a number of works on topics related to chivalry. «Treatise on Coats of Arms» (Tratado de las armas) (1458–1467) Valera follows the European traditions of heraldic treatises. Along with other theore

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Markov, Alexander V. "Intermedial contexts of the coat of arms motif in lyrical poetry by Viktor Krivulin." Neophilology, no. 18 (2019): 193–201. http://dx.doi.org/10.20310/2587-6953-2019-5-18-193-201.

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Although the heraldry theme does not belong to the main poetry themes of Viktor Krivulin, it is indicative of his poetic reflections on the relationship between self-comprehension of the Russian authorities, the dynamics of Russian art development and the fate of a private person. V. Krivulin’s poems are adjacent to the poet’s numerous ekphrases in which the coat of arms acts as a lyrical motif and the marginality of the theme in his lyrical world proves some of the mechanisms of this type of ekphrasis. The coat of arms acts simultaneously as a representation of authority and an artifact or im

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Rodikova, Oksana. "Symbolism of the armorial frieze of the middle of the 13th century on the butt of the armorial hall of Gozzoburg, Krems, Lower Austria." Ethnic History of European Nations, no. 69 (2023): 59–64. http://dx.doi.org/10.17721/2518-1270.2023.69.06.

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Since in the Middle Ages the ability to read and write was mainly reserved for monks and thus only for a very small part of the population, there was a need for an alternative form of identification. This was expressed in the spread of coats of arms. Heraldic signs were used in different ways and found application on armor and shields in military conflicts, as well as at festivals, tournaments, and competitions, on houses, flags, and fabrics. If someone wore a coat of arms, they could be assigned to a certain group. Family coats of arms had legal significance as a symbol of the status and lega

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Noviantono, Nurcahyo Eko, and Rini Maulina. "Color Preferences for the Coat of Arms of the Greater Bandung Regional Government." ARTic 5, no. 1 (2022): 459–68. http://dx.doi.org/10.34010/artic.v5i1.9883.

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The Greater Bandung government consists of Bandung City, Bandung Regency, West Bandung Regency and Cimahi City, each local government has a different regional coat of arms. Based on government regulations, the regional coat of arms is a cultural symbol for the community living in a region, which reflects the uniqueness of the region and is different from other regions. The symbols and colors contained in the regional coat of arms function as an identity and binder of the socio-cultural unity of the regional community. This study aims to reveal regional color preferences contained in the emblem

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Tchernik, Alexander. "The Ordinance of 1760." Novaia i noveishaia istoriia, no. 4 (2022): 182. http://dx.doi.org/10.31857/s013038640021038-9.

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Louis XV’s Ordinance of 1760 is an example of unsuccessful heraldic regulation, which marked the general decline of Western European historical heraldry in the eighteenth century. The document required that the nobles would be divided into categories and the right to hold a coat of arms was to be paid for. The Ordinance laid down potential prices, different for individuals and corporations, and even imposed certain restrictions on coats of arms for non-nobles. The latter were essentially barred from having coats of arms, with the exception of those who held military, fiscal, judicial and munic

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Miskov, Ivan. "SEALS AND COATS OF ARMS OF MUKACHEVO IN THE RESEARCH OF OLEKSIY FILIPPOV." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 212–19. http://dx.doi.org/10.24144/2523-4498.2(47).2022.267657.

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In this article, the author tried to analyze and evaluate Oleksiy Filippov's research on the seal and coat of arms of the city of Mukachevo, which became his second homeland. Since 2002, he has been visiting the State Archives of the Transcarpathian Region in Berehovo weekly to find documents about Mukachevo's seals and coat of arms. The researcher was interested in the figure of St. Martin. He printed his first articles about the city coat of arms of Mukachevo in the local periodical press. He was one of the first to publish the charter of the Hungarian Queen Elizabeth, dated May 22, 1376. Wi

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Nacevski, Ivan. "The Emergence and Development of the Coat of Arms of Macedonia in Illyrian Heraldry." Genealogy 6, no. 2 (2022): 44. http://dx.doi.org/10.3390/genealogy6020044.

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Macedonia is a region in the Balkans with traditional boundaries at the lower Néstos (Mesta in Bulgaria) River and the Rhodope Mountains to the east; the Skopska Crna Gora and Shar mountains, bordering Southern Serbia, in the north; the Korab range and Ohrid and Prespa Lakes in the west; and the Pindus Mountains and the Aliákmon River in the south. Illyrian heraldry consists of manuscript collections with coats of arms—armorials that appeared on the Dalmatian coast, and in Italy, Spain, and Austria, in the late sixteenth and early seventeenth centuries. The two Stematographias of Pavle Ritter

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Piticari, Alexandru-Daniel. "Poema et Stemma Principis Ioannis Mattei Bassarabæ: A Possible Source of Romanian Heraldic Terminology?" Études bibliologiques/Library Research Studies 2, no. 2 (2020): 129–38. http://dx.doi.org/10.33993/eb.2020.09.

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The first poem dedicated to the coat of arms of the country was written by Udriște Năsturel (a Romanian scholar and prince Matei Basarab’s brother-in-law). The poem is part of the Slavonic Euchologion of 1635, which was issued on the printing press brought by Matei Basarab from the Ukrainian area and set up in Câmpulung-Muscel. Udriște Năsturel composed the versified emblazonment based on a coat of arms identical to the armorial bearing found in The Nomocanon from Govora (1640) and in the Gospel with Teachings (1644). The author used personification to describe the coat of arms in verses. For

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Pchelov, Evgeny V. "IMAGES OF REGALIA IN THE TITULAR HERALDRY OF THE MOSCOW KINGDOM. ICONOGRAPHY AND SEMANTICS." History and Archives, no. 4 (2022): 12–25. http://dx.doi.org/10.28995/2658-6541-2022-4-12-25.

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The article analyzes the history of the using the regalia images of regalia in the titular heraldry of the Moscow Kingdom of the 16th – 17th centuries. Titular heraldry is a complex of coats of arms for the territories of which the names were part of the object title of the Russian sovereigns. The total number of titular coats of arms of the Moscow Kingdom is more than thirty. They were first recorded on the Great Seal of Ivan the Terrible in the late 1570s. On this seal, out of 24 titular coats of arms (emblems, “seals”), four had the images of certain regal objects. In two cases, these were

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Tchernik, Alexander. "Two Coats of Arms of Bertrand du Guesclin." ISTORIYA 15, no. 7 (141) (2024): 0. https://doi.org/10.18254/s207987840032177-3.

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The article meditates on why, while possessing a family coat of arms, a famous French national hero of the 14th century was visualized by a different coat of arms. Naming Bertrand du Guesclin the Tenth Worthy in addition to the Nine Worthies — exemplary warriors of the Middle Ages — was one of the ideological activities of the French monarch during the Hundred Years&apos; War. Depicting Bertrand du Guesclin not with his own coat of arms, but with the royal arms of France meant that the monarch assessed him as a victor and a hero. At the end of the 14th—15th centuries the arms became the ar

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Piechocka-Kłos, Maria. "Saint Martin in Polish local self-government heraldry." Forum Teologiczne 23 (November 25, 2022): 37–49. http://dx.doi.org/10.31648/ft.8026.

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Saint Martin is a very popular character in the Christian tradition. His life and deeds have had a considerable impact on successive generations of Christians, beginning with the Middle Ages and he is still present in the minds of believers. The popularity of this saint in Poland and Europe is reflected in many names of churches, parishes, chapels, altars as well as in art, names and heraldry. This paper presents selected local self-government coats of arms displaying an image of St. Martin or attributes associated with him. The full figure of St. Martin in Polish local self-government heraldr

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Soćko, Adam. "Programy heraldyczne w dekoracji kościołów parafialnych w Kraśniku i Chodlu." Artium Quaestiones, no. 27 (September 8, 2018): 5–28. http://dx.doi.org/10.14746/aq.2016.27.1.

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The essay is an analysis of coats of arms, mainly from the second quarter ofthe 16th century, connected with the architecture and decoration of thechurch of the Regular Canons in Kraśnik and the parish church in Chodel. The identification of numerous coats of arms used to decorate the keystones,supports, portals, balustrades, and facades of the Kraśnik church confirms two stages of its construction by two branches of the Tęczyński family (coat of arms Topór ) in the 15th and 16th centuries. The identification of the coatsof arms painted on the chancel vault of the church in Chodel determines t

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Premerl, Daniel. "Ivan Tomko Mrnavić and His Coat of Arms: Self-presentation of an Illyrian Noble." Radovi Instituta za povijest umjetnosti, no. 42 (January 2019): 109–24. http://dx.doi.org/10.31664/ripu.2018.42.08.

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The article discusses the coat of arms of Ivan Tomko Mrnavić as a visual sign of his self-presentation. Examples of Mrnavić’ s coat of arms are presented and the contexts of their use interpreted, such as frontispieces, title pages, or seals. Finally, the origin, shape, and meaning of Mrnavić’ s coat of arms is interpreted in relation to his self-fashioned identity as a nobleman, as well as his political views on a possible post-Ottoman state in the region.

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Jean, Lionnet. "Another musical Medici coat of arms." Early Music XV, no. 4 (1987): 520–22. http://dx.doi.org/10.1093/earlyj/xv.4.520.

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Lipton, Stuart A. "HIV displays its coat of arms." Nature 367, no. 6459 (1994): 113–14. http://dx.doi.org/10.1038/367113a0.

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Giergiel, Tomisław. "The Coat of Arms of Kamionka – Sources and Content." Res Historica 55 (July 20, 2023): 137–59. http://dx.doi.org/10.17951/rh.2023.55.137-159.

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The article presents the history of the Kamionka coat of arms in the Lubelskie Voivodeship. The author presents the genesis, sources and content of the coat of arms used by the city authorities in the eighties of the sixteenth century. It was a golden period in the city's development. The author also presents other heraldic and sphragistic sources that may affect the process of creating the city's coat of arms. This analysis was submitted to the local government of Kamionka, which obtained city rights on January 1, 2021, and began preparations for the establishment of the coat of arms and othe

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Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.

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The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.

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Jonovski, Jovan. "The Development of the State Emblems and Coats of Arms in Southeast Europe." Genealogy 7, no. 3 (2023): 54. http://dx.doi.org/10.3390/genealogy7030054.

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Heraldic traditions in southeast European countries are similar, as are the histories of their state emblems and coat of arms. Their development could be classified into three periods: (1) from the founding of the states until the end of World War II; (2) the socialist period; and (3) the period of democratisation after the collapse of socialism. The focus of this work is the processes of the adoption of coats of arms. The descriptions are taken from the appropriate legal documents. This paper examines the emblems and coats of arms of modern southeastern European, or Balkan states, Albania, Bo

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Kasimov, Rustam Nurullovich. "FIGURES OF ORIGINAL CULTURE IN THE COATS OF ARMS OF MUNICIPAL DISTRICTS OF UDMURTIA AS THE POTENTIAL FOR ETHNOCULTURAL BRANDING OF A LOCUS." Historical and cultural heritage 14, no. 1 (2024): 83–95. http://dx.doi.org/10.62669/30342139.2024.1.7.

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Not only states, republics, districts and cities, but individuals and surnames (families) have the right to the coat of arms. At the same time, the territorial coats of arms reflect historical or cultural features, stereotypical ideas. The article examines the specifics of the figures on the coats of arms of Udmurtia’s municipal districts. It is safe to say that when developing regional heraldic symbols, creative groups selected figures and images based on the original history and culture or on the economic specifics inherent in this territory. The possible process of locus branding aimed at t

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Moașa-Nazare, Ruxandra. "Les armoiries de la ville de Brașov dans les ouvrages imprimes jusqu'a la premiere moitie du XVIIIe siecle." Études bibliologiques/Library Research Studies 3, no. 3 (2021): 79–87. http://dx.doi.org/10.33993/eb.2021.06.

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The image of the coat of arms of Brasov in seals, ancient books and architecture was studied in many works, old and new ones. Regarding the shape of this coat of arms on Brasov prints, there were two models, created by Johannes Honterus during the 16th century. These patterns circulated for a long time and they were used constantly, with small changes, by the printers and by the owners of the printing of the town until the 18th century. Our paper researches and analyzes the shape of the coat of arms, on the basis of Brasov prints, from the first images until the first half of the 18th century.

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Martynenko, V. A., and V. A. Sidorov. "Technoheraldry of Donetsk region." Glavnyj mekhanik (Chief Mechanic), no. 4 (March 22, 2023): 223–37. http://dx.doi.org/10.33920/pro-2-2304-05.

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The "Third Heraldic Reform" in the Donbass was purely commercial. The craze for collecting badges with coats of arms caused the development of "rural heraldry" in Donbass. At the end of 1995, all the cities of the Donetsk region already had coats of arms, each of them had a technical symbol. Villages, districts, urban-type settlements remained without coats of arms. During the "Second Heraldic Reform", the principles of building coats of arms were constantly violated. The emerging literature on heraldry led to the desire of novice heraldists to use classical heraldic techniques: division of th

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Urošević, Milivoje, and Milosava Matejević. "Representation of a Dog in a Coat of Arms on a Building in Romanshorn (Switzerland)." International Journal of Advanced Multidisciplinary Research and Studies 5, no. 3 (2025): 1699–703. https://doi.org/10.62225/2583049x.2025.5.3.4513.

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In the Swiss town of Romanshorn, on the shores of Lake Constance, next to the old, renovated Evangelical church, there is a building with a coat of arms on its wall. It is very interesting that the shield in the coat of arms features a dog. The subject of our research is precisely this dog.

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Pchelov, Evgeniy V. "The Color Scheme of the Russian Titular Coats of Arms of the 17th – Early 18th Century." Herald of an archivist, no. 3 (2022): 651–61. http://dx.doi.org/10.28995/2073-0101-2022-3-651-661.

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The article is devoted to the analysis of the color scheme of the Russian titular coats of arms of the 17th – early 18th century. Until late 17th century, the color scheme of coats of arms did not matter, since the emblems of the titular objects themselves were depicted on seals, for which they were created. However, by the end of the 17th century, these emblems began to acquire increasingly heraldic appearance. An important stage on this path was creation of the “Titulyarnik” in 1672. In this book, the titular coats of arms were presented in color, but this colorization was not of heraldic na

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Williams, Joseph, and Lewis Curtis. "Green: The New Computing Coat of Arms?" IT Professional 10, no. 1 (2008): 12–16. http://dx.doi.org/10.1109/mitp.2008.9.

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ARSLAN, Mustafa, and Gökhan GÜL. "Animal Figures in Turkish Coat of Arms and Inscriptions in terms of Semiotic Discourse and Emotional Value." Türk Edebiyatları Araştırma Dergisi 3, no. 1 (2022): 1–10. http://dx.doi.org/10.47580/tead.311.

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In this study, the animal figures of great importance used in Turkish coat of arms and inscriptions were examined in terms of discourse semiotics and emotional value. In the context of semiotics, animal figures have been used as an important symbol in different fields from the historical process to the present; transportation, defense, agriculture, life, war, religious items etc. animal figures came to the fore in the fields. When the Turkish coat of arms and inscriptions are examined in depth, it is seen that animal figures are used very frequently. Animal figures used in Turkish coats of arm

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