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Dissertations / Theses on the topic 'Art Symbolism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Swoboda, Sylvia. "Symbolism and Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2034.

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I am interested in communication through symbolism. The symbols that I incorporate in my mixed media work are simplified into essential lines and shapes. I use the Kabbalah’s Tree of Life diagram as a structure to hold my own personal symbols. These symbols are my interpretation of the phases of life. I also use prehistoric symbols such as the spiral, circle, square, triangle, and cross as a focus to emphasize the beauty of these very basic lines and shapes which we see all around our world. To emphasize the beauty of symbols I use repetition, color, and texture. Life is overwhelming and chaotic at times. Having simplicity in my visual surroundings creates a sense of tranquility and contentment. I aim to convey these feelings to the viewer while having them interpret what the symbols mean to them.

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d'Esterre, Elaine, and mikewood@deakin edu au. "Feminist poetics: Symbolism in an emblematic journey reflecting self and vision." Deakin University. School of Literary and Communication Studies, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.123532.

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My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scènes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, seen by the image of my other eye, or faction, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a rewriting of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

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3

Alexandri, Alexandra. "Gender symbolism in Late Bronze Age Aegean glyptic art." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251901.

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4

Leyva-Perez, Irina. "Alchemy and Symbolism in the Work of Carlos Estevez." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/740.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

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5

Crosby, Nancy A. "Shifting reality /." Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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6

Cosentino, Daniel. "Cosentinoworks /." Online version of thesis, 2009. http://hdl.handle.net/1850/9603.

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7

Heaton, Haidee R. "Symbolism and the actor's perspective : a grounded theory study of the actor's approach to symbolist vocal work /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137709.

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8

Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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9

Peacock, Judith Ann. "Ecclesiastical vestments as works of art : intertextuality, meaning and design." Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324165.

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10

Schmiedel, Dean. "The other mother : an artist's conception /." Online version of thesis, 2007. http://hdl.handle.net/1850/4486.

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11

Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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12

Schaik, Marinus Jan Hendrikus van. "De harp in de Middeleeuwen studies naar de symboliek van een muziekinstrument = Die Harfe im Mittelalter : Studien zur Symbolik eines Musikinstruments /." Utrecht : M.J.H. van Schaik, 1988. http://books.google.com/books?id=oo9GAAAAMAAJ.

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13

Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.

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Thesis (MPhil)--Stellenbosch University, 2103.
ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.

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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.

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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.

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15

Sorrels, Charles. "Cullet /." Online version of thesis, 1993. http://hdl.handle.net/1850/11257.

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16

Li, Gregory Kenneth, and 李群雄. "Tantric symbolism in Vajrayogini imagery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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17

Vora, Janhavi L. "Decoding symbols." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391239.

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The primary objective of this creative project is to explore the meaning and complexity of simple forms, also referred to as symbols. The project examines symbols that interest me. These symbols may be found in various cultures and subcultures throughout the world. I also designed symbols to describe weather phenomena.I have provided a thematic interpretation of my work, focusing on the themes of identity and spirituality. When people view my work they may have multiple interpretations, but a thematic explanation of each piece also provides information for the viewer to ponder. The paper also includes a discussion of work by other artists and ideas that have informed and developed my prints. This body of work required traditional printmaking techniques such as: intaglio, deep etching, chine cone, color printing and photomechanical transfer using imagON photopolymer film.
Department of Art

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18

Pinkham, Todd Alan. "Brazen idols /." Online version of thesis, 1993. http://hdl.handle.net/1850/11902.

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19

Hall, Rebecca Sue. "Of merit and ancestors Buddhist banners of Northern Thailand and Laos /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1694502661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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20

Chandrasekhar, Chaya. "Påla-period Buddha images their hands, hand gestures, and hand-held attributes /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092830047.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.

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Evans, Phyllis Leverich. "Empty pleasures." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=632.

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Thesis (M.F.A.)--West Virginia University, 1999.
Title from document title page. Document formatted into pages; contains v, 24 p. : col. ill. Includes abstract. Includes bibliographical references (p. 19).

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22

Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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23

Harnois, Richard D. "Gone to a Better Land: A Study of Gravestone Forms, Art and Symbolism." W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539720293.

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Stutzer, Rina. "The hybrid monster as a figure of liberation in selected artworks of Minnette Vári." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10082008-083705.

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25

Aguilar-Moreno, Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Aguilar, Moreno José Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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27

Wylie, Janet S. "The development, practical application and cultural implications of the use of visual art by missionaries for the intercultural communication of the Gospel." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Yoder, Abigail Eileen. "Decoration and symbolism in the late works of Odilon Redon." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2300.

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From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative works - highly ornamental paintings with decorative subject matter that were conceived of by the artist himself as decorations. Yet despite the fact that decorative works made up a significant portion of Redon's late oeuvre, he is rarely considered as a major figure within the decorative arts movement at the turn of the century, unlike his contemporaries Paul Gauguin and the Nabis. His close involvement with these artists, as well as his affiliation with a number of the same important critics, makes his exclusion from discussion of the decorative revival all the more surprising. There has been very little scholarship on Redon's decorative works that consider them in in relation to the international decorative movement. Nevertheless, his late works actively engaged with the avant-garde aesthetic theories of the time. My dissertation will place Redon in the context of the decorative and Symbolist art movements by examining the profusion of decorative projects with which he was involved during the last decades of his career. By considering important themes within these movements, like elevation of craft arts, the encouragement of floral designs, the revival of religious and mythological subject matter, and principles regarding the unification of the arts, I argue that Redon warrants consideration as a decorative painter at the turn of the century in France. My first chapter introduces the idea of the decorative revival in the nineteenth century, and considers the way the definition of the term "decorative" evolved during the period. I also present the historiography of Redon scholarship, as it relates to his decorative works. The second chapter examines the historical background of the decorative and Symbolist movements in the nineteenth century. I focus first on the pan-European decorative revival, especially in England and Belgium, then examining how this influenced French art. The Symbolist artistic movement developed simultaneously, and as such, I will examine the ways in which the two movements overlapped. Finally, I consider how Redon's artistic development was affected in this aesthetic climate. Subsequent chapters examine specific themes in Redon's decorative oeuvre, and how these related to ideas and undercurrents in the general decorative and Symbolist art movements. Chapter three focuses on flowers and nature as decoration, exploring the increase of floral imagery in both decoration and Symbolist painting, and how Redon adapted his own artistic language from these influences. Chapter four examines the revival of traditional imagery from religious and mythological subjects, as well as occultist themes, and explores the way Redon used his decorative style to create new symbolic meanings for these themes. Chapter five focuses on Redon's murals at the Abbaye de Fontfroide, in which I argue that they represent a modern Gesamtkunstwerk. My final chapter underscores Redon's place within the decorative and Symbolist movements and examines the influence he exerted on his contemporaries through his use of the decorative arts.

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Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
Master of Arts (Hons)

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Wise, Heather M. "A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrow." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217379.

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This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

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Helleland, Miriam. "Att våga förnya för att förmedla : Förnyandet av den moderna sakrala konsten sett ur tre konstverks uppkomst tagna från konstprojektet "Kyrkorummet"." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-133064.

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In this essay the renewal of the modern sacred art has been examined through the creation of three works of art from the art project “Kyrkorummet”. The aim has been to show that renewal of the modern sacred art is best accomplished by the combination of the artist history and Bible knowledge and the open mindness of the beholder towards the new and creative, in order to communicate the gospel in modern time. The large extend of the art project demanded a selection of the art works. Therefore, three were chosen and they show the last supper and the baptism in a renewal way including both symbolism and creativity. To complete and facilitate the analyses, a theme, light and water, have been used as well as relevant theories in art history with Kandinsky as main art critic. Through the art project and it’s teaching, history in combination with present time through visits in different and modern churches, thoughts have been stimulated and the result has been new works of art that speaks of our time. The project has also shown that symbolism is an important aspect in the renewal of sacred art, since it communicates and reveals important truths.

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Mousset-Becouze, Chloé. "Du symbolisme comme chambre noire de l'imaginaire photographique." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30018/document.

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Évoquer l'existence d'un imaginaire photographique pose un problème d'ordre idéologique quant au statut de la photographie. Pour tenter de démontrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, réfléchit à cette notion de manière fondamentale: le mouvement symboliste. Aussi est-il nécessaire de se demander en quoi le symbolisme est fondateur de l’imaginaire photographique ? A cette époque la photographie est largement intégrée dans un système positiviste, elle est la technique scientifique d’enregistrement par excellence, ayant pour trait caractéristique la mise hors circuit de la subjectivité de l’observateur. Le symbolisme, quant à lui, est à son apogée, autour des années 1880-90. Il va opposer au principe scientifique de classification, fondé sur la séparation et la différence, une conception philosophique tournée vers la recherche d’unité. Or les symbolistes, vont se servir de l’outil photographique. D’une part, ils réinvestissent d’un imaginaire et d’un esprit critique les photographies les plus scientifiques et « objectives » de l’époque. D’autre part certains deviennent eux-mêmes photographes et vont instituer la photographie comme une véritable expérience créatrice et poétique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de démarches ont été réinvestis par la révolution surréaliste. Ceux-ci restent présents et fondateurs de la photographie contemporaine par leur réactualisation. Cette dernière ferait véritablement appel aux potentiels de l’imaginaire photographique déjà mis en place par le Symbolisme, remettant dès lors en question la manière impérialiste de voir et concevoir le réel. Le but de cette recherche, n’est pas d’affirmer que toute photographie est symboliste mais de déterminer quelle peut être aujourd’hui l’influence du symbolisme en photographie, à travers la mise en œuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant l’imaginaire photographique
To refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination

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Kappel, Caroline J. "Labyrinthine depictions and tempting colors the synaesthetic dances of Loïe Fuller as symbolist choreography /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195707359.

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Le, Quellec Jean-Loïc. "Symbolisme et art rupestre au Sahara /." Paris : Éd. l'Harmattan, 1993. http://catalogue.bnf.fr/ark:/12148/cb35613873f.

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Westhead, Jonathan Michael. "Royal ideology in Mesopotamian iconography of the third and second millennia BCE with special reference to gestures." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96899.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: This thesis aims to examine to what extent the visual representations of ancient Mesopotamia portrayed the royal ideology that was present during the time of their intended display. The iconographic method is used in this study and this allows for a better understanding of the meaning behind the work of art. This method allows the study to better attempt to comprehend the underlying ideology of the work of art. The eight images studied date between three thousand BCE and one thousand BCE and this provides a broad base for the study. By having such a broad base it enables the study to provide a brief understanding of how the ideology adapted over two thousand years. The broad base also enables the study to examine a variety of different gestures that are portrayed on the representations. This thereby provides the reader with a better understanding of why certain gestures were used and how the underlying ideology was communicated through these movements. The study concludes that while the gestures lend a life-like appearance to the representation they do not solely portray an underlying ideological message. Rather, they enhance the already inherent ideological message.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek tot watter mate die visuele voorstellings van Ou Mesopotamië die koninklike ideologie — van die tyd toe hulle uitgestal is — uitgebeeld het. Die ikonografiese metode is in hierdie studie gebruik en maak dit moontlik om 'n beter begrip van die betekenis agter die kunswerk te verkry. Die metode stel die studie in staat om die onderliggende ideologie van die kunswerk beter te verstaan. Die agt bestudeerde beelde dateer tussen drieduisend v.C. en 'n duisend v.C. en bied 'n breë basis vir die studie. So ‘n breë basis stel die studie in staat om te verstaan hoe die ideologie oor meer as twee duisend jaar aangepas is. Die breë basis stel die studie ook in staat om 'n verskeidenheid verskillende gebare wat uitgebeeld word, te ondersoek. Hierdeur verskaf dit die leser met 'n beter begrip waarom sekere gebare gebruik is en hoe die onderliggende ideologie deur middel van hierdie bewegings gekommunikeer is. Die studie kom tot die gevolgtrekking dat terwyl die gebare 'n lewensgetroue voorkoms aan die voorstelling gee, hulle nie uitsluitlik onderliggende ideologiese boodskappe uitbeeld nie. Inteendeel, hulle versterk die reeds onderliggende ideologiese boodskap.

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Lantz, Lisa. "Katten i konsten på Nationalmuseum." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-981.

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The purpose of this science of Art History research paper is to find out the meaning of Cats in Art. I have limited my studies to the Nationalmuseums picture gallery and found forty paintings with cats. I have chosen sixteen of these to furthur analyze typographically and chronologically from a symbolic perspective. The forty paintings from the Nationalmuseum were created during four centuries, with the first being painted in the Sixteenth Century. I have studied the cats dimensional placement in the picture, if the cat is in an outdoor or indoor environment, with people and if the cat is active or passive. I have studied which color the cat has in the motive, if it is painted on the left or right side of the picture and if the cat as at symbol enhances the motives.

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Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.

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Lewis, Lynnell K. "The poetry of symbolism and the music of Gabriel Fauré." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/836.

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Morgan, David. "The origin and use of compositional geometry in Christian painting /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.

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O'Loughlin, John University of Ballarat. "Vessels for miracles : a tangible expression of an unwillingness to disallow belief." University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12796.

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"Through a review of the art of late antiquity and early Christianity, the study examines the nature of, and tension between, superstion and belief. It debates the implicit question 'is all religion superstition?' in an attempt to provide a sound basis for the presentation of reasons for my personal unwilingness to 'disallow belief' in the mysteries of the Faith, despite doubts on their content."
Master of Arts (Visual Arts)

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O'Loughlin, John. "Vessels for miracles : a tangible expression of an unwillingness to disallow belief." University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14632.

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"Through a review of the art of late antiquity and early Christianity, the study examines the nature of, and tension between, superstion and belief. It debates the implicit question 'is all religion superstition?' in an attempt to provide a sound basis for the presentation of reasons for my personal unwilingness to 'disallow belief' in the mysteries of the Faith, despite doubts on their content."
Master of Arts (Visual Arts)

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Hawley, Jessica R. "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/34.

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Salvador Dalí was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. For the most part, Dalí is categorized as a Surrealist artist, yet in this essay, I also plan to explore other possibilities of influence that surrounded Salvador Dalí’s generation and inspirational background. Around 1941, Dalí’s work began to shift away from Surrealism and, instead, moved toward a more Classical style that contained many religious themes, a style which he called “Nuclear Mysticism” (Taylor 2008, 8). My interest in this subject stemmed from a visit to the High Museum of Art in Atlanta to see the exhibition “Dalí: The Late Work.” This exhibition contained highly regarded paintings such as Christ of Saint John of the Cross (1951), The Persistence of Memory (1931), and The Madonna of Port Lligat (first version, 1949). Seeing these paintings caused me to consider the possible situations, groups, and events occurring in 20th-century Spain and elsewhere that could have caused this transformation in Dalí’s art. In most of our minds, Dalí was an artist who painted amorphous figures and objects that would only exist within his dreams and unconscious state; yet, Dalí’s subject matter after the 1940s showed a remarkable consideration of figures and objects that are symbolic to the fundamentals of the Catholic tradition.

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Ilbeyi, Gonca. "The way to the absolute /." Online version of thesis, 1991. http://hdl.handle.net/1850/11968.

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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.

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Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.114529/index.html.

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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Munk, Ana. "Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6213.

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Dowling, Susan J. "Constructing Identity Identity Construction." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/88.

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In this art-based study I will examine the construction of identity creating three life size figures utilizing metaphor and symbolism. I recorded and analyzed the process through reflections. The artist/teacher/researcher will provide conclusions based on art production and self-reflection.

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Forrest, Matthew. "Iconography profiles." Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5698.

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Thesis (M.F.A.)--West Virginia University, 2008.
Title from document title page. Document formatted into pages; contains v, 29 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 11).

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Opperman, J. A. "Imaging the metaphysical in contemporary art practice : a comparative study of intertextuality, poststructuralism and metaphysical symbolism." Thesis, Port Elizabeth Technikon, 2002. http://hdl.handle.net/10948/101.

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It was then that I decided to investigate how contemporary forms of metaphysical imaging have evolved formally and stylistically. I began to question how such approaches might be informed by current philosophical thought, given that many contemporary theorists have adopted a sceptical view towards metaphysical discourse. This point of contention presented me with the initial challenge of finding an artist whose exploration of metaphysical content is supported by topical philosophical thought. I intended this inquiry to serve as a basis from which to develop my own approach to imaging metaphysical content and to situate it within the context of contemporary thought.

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