Relevant bibliographies by topics / Christian decoration and ornament

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Christian decoration and ornament'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Christian decoration and ornament"

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Bourke, Cormac, Thomas Fanning, and Niamh Whitfield. "An Insular Brooch-Fragment from Norway." Antiquaries Journal 68, no. 1 (March 1988): 90–98. http://dx.doi.org/10.1017/s0003581500022502.

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A silver-gilt ornament of Insular origin from a Viking age burial in Norway is here identified for the first time as the pin-head of a ring brooch of pseudo-penannular form. The decoration and typology of the pin-head are discussed in relation to Insular metalwork, and its iconography is considered in the context of Early Christian art. The pin-head and an associated ringed pin are dated to the eighth or ninth century.
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Cvetković, Branislav. "Zaglavlje Dekaloga u Hvalovom zborniku: prilog semantici srednjovjekovne iluminacije." Ars Adriatica, no. 4 (January 1, 2014): 155. http://dx.doi.org/10.15291/ars.493.

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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common abbreviation from the nomina sacra category (God). The significance of this hitherto-overlooked gloss is extraordinary. It was written in the same manner which was used for adding legends to miniatures or headers in order to clarify images in medieval illuminated manuscripts. Hval wrote similar notes in several margins of this manuscript.The location of the gloss itself points to its function as an explanation of the banner before the words which the Lord communicated to Moses on Mount Sinai. That the text of the Ten Commandments was significant in Bosnian illuminated manuscripts is also attested to by the header before the Ten Commandments in a Venetian miscellany codex, which depicts the narrative scene of the theophany on Sinai while, at the same time, containing a fairly long inscription which clarifies the image. Similar textual clues appear in the Dobrejšovo Evangelie, the most important of which is the one positioned next to the Synaxarion header where the inscription, “this is heaven which is also called paradise”, explains the scene. In the context of such examples, this article discusses analogous material from illuminated manuscripts and monumental painting alike by applying a new approach to the study of function of medieval ornament, while also highlighting the problem of the etymology of the notion of ornament in different languages. The findings resulting from this research show that the function of ornament in a religious context was not just decorative, but that it was used to mark the holiness of a space, that is, the presence of the divinity, which is a phenomenon witnessed in illuminated manuscripts, wall paintings, icons and reliquaries.H. Kessler’s research into Judeo-Christian symbol-paradigms confirms the essential importance of the depiction of the Old Testament tabernacle in the manuscripts of the Christian Topography as a source of ornamental motifs. They can be grouped into a relatively narrow set of symbols, always included in a structural system: star-shaped schemes, fields of flowers, interlace and lozenge nets as well as chequers. Their origin is found in the coffered vaults of classical tombs and temples where they represented the sky and Elysium. They were transported to medieval art through identical motifs which were painted in the catacombs and early Christian basilicas. It is these exampes that constitute a formal template for the header to the Ten Commandments in the Hval Codex the meaning of which is, therefore, a symbolic depiction of the Word, Logos, as the source of God’s Ten Commandments, which is why the banner was marked with a corresponding gloss.The article also pays attention to an unusual illumination in the Gospels of Jakov of Serres because it also witnesses that a grid with floral motifs possessed a special meaning to educated medieval men. The portion above the head of Metropolitan Jakov, formed by a band of a lozenge net with flowers, has been described in the scholarship only as decorative, that is, as forming a floral background, but, given that its position and shape both conform to signifiers of heavenly kingdom in Byzantine manuscripts of the Christian Topography, it is erroneous to interpret it only as a floral background and a mere ornament. In this case too, the lozenge field filled with flowers denotes the Empire of God to which Jakov directs his prayers. Therefore, when one studies ornament in a religious context, it is necessary to use a more precise language, one which is rooted in the manuscript material itself. A concrete evidence for such a practice can also be seen in the colophon of this manuscript because the scribe who wrote it compared all of the decoration in the codex to the starry sky of a theological rather than actual kind.Other notes in the Hval Codex margins are also mentioned in the article. Some of these record the name of the manuscript’s commissioner who was addressed out of respect as uram (Hungarian for “my sire and master”): Hrvoje Vukčić Hrvatinić, Grand Duke of Bosnia and a Herzog of Split. The article emphasizes the need to study more closely the location of glosses and all other marginal notes within the codex, and highlights the fact that the two notes recording the name of the patron were placed next to the Gospel sections describing Christ’s healing miracles which, generally speaking, figure prominently in Christian art and exegesis. Furthermore, the article also analyzes the previously-unpublished illumination which depicts Moses in front of the Burning Bush, the branches of which were rendered as interlace ornament resembling a labyrinth. The rendition of the Burning Bush as interlace stemming from the floral frame of the header is a unique example which demonstrates that medieval art did not consider ornament as a meaningless arabesque but that it frequently functioned as a signifier.
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Stanfield-Mazzi, Maya. "Weaving and Tailoring the Andean Church: Textile Ornaments and Their Makers in Colonial Peru." Americas 72, no. 1 (January 2015): 77–102. http://dx.doi.org/10.1017/tam.2014.6.

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The first Christian churches were built in the Andes soon after Spaniards arrived. Initially simple structures, they were later remodeled into large stone monuments. Aside from their architectural construction, the furnishing and decoration of these churches was an ongoing project that involved many participants, often under the watchful eye of a parish priest. Art historians have uncovered fascinating cases in which native artists exercised agency in creating works to be displayed in church interiors, many of which expressed Andean as well as Christian beliefs. This scholarship has focused primarily on the art forms of painting and sculpture, which were very visible within the church, especially in cases such as the baptism murals discussed by Ananda Cohen Suarez in this issue. An underappreciated yet equally notable aspect of church decoration was textiles. Throughout the colonial period churches were abundantly adorned with “church clothing,” textile ornaments meant to cover floors, walls, and altars as well as clothe church functionaries and religious statuary. The purchase and maintenance of church textiles consumed the lion's share of annual church budgets.
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Vranesevic, Branka. "The iconography of light. A possible interpretation of the decoration of a three nozzle lamp from Viminacium." Zograf, no. 38 (2014): 23–29. http://dx.doi.org/10.2298/zog1438023v.

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This paper focuses on offering a possible iconographic interpretation of the decoration of a rare three nozzle lamp discovered in the ancient city of Viminacium, on the locality of a necropolis called Pecine, dated to the early fourth century. Among the numerous lamps unearthed at the site of this prominent Roman city, capital of Moesia Superior, this example stands out for its rectangular shape, three nozzles and a decoration of high artistic merit consisting of geometric and floral ornaments. Considering the function and meaning of lamps within the framework of Early Christian teachings, liturgy and burial practices, this imagery can be understood as visualization of concepts related to perceptions of eternity and otherworldly, divine light.
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Naumenko, Olga Nikolaevna. "NEW IMAGES OF THE OB-UGRIC CULTURE: THE TRACES OF ISLAM IN THE RELIGIOUS ORNAMENT." Yearbook of Finno-Ugric Studies 13, no. 2 (June 25, 2019): 325–30. http://dx.doi.org/10.35634/2224-9443-2019-13-2-325-330.

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The article considers the process of transformation of the Ob Ugrian culture on the basis of the analysis of the unique collection of objects of decorative and applied art of the XVII-XXI centuries. This process reflects the formation of a group with a syncretic culture (Ob-Ugric Istiaks). The action of the frontier through contacts with the Siberian Tatars led to the enrichment of culture through external borrowing. The author draws attention to the fact that the Ob Ugrians were ready for cultural transformation within the framework of adoption of other, but necessary norms for survival. The article emphasizes that the Orthodox missionaries were “late” in relation to this part of the Ob Ugrians, since by the 18th century Islam (in the regional version) had already become a part of their spiritual and daily life. Evolutionary processes have led to new phenomena in the Ugric culture. The author analyzes the decorative ornaments of the felon on wooden sculptures of Nikolay Mozhaisky of the 17th century, comparing them with ornaments of the indigenous population of the North, objects related to Christian and Muslim culture. The author’s attention was drawn to the chess ornament. In the process of the analysis several hypotheses of its origin are put forward - from the connection with the Greek Orthodox culture to the reflection of the Northern traditions and the Muslim ornament-girih in its Siberian version: the article focuses on the latter option. Ob-Ugric culture is syncretic in its content, covers a variety of forms of customs, faith, language, life. In the present article the author makes a certain contribution to the study of this problem, highlighting one of the sides of the original Ob-Ugric culture.
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Endoltseva, E. Yu. "The Lashkendar Church and the Alan-Abkhazian Cultural Contacts: Prospects of Studying." Observatory of Culture 15, no. 3 (August 19, 2018): 298–308. http://dx.doi.org/10.25281/2072-3156-2018-15-3-298-308.

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The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.
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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part II)." Ethnologia Actualis 16, no. 2 (December 1, 2016): 14–32. http://dx.doi.org/10.1515/eas-2017-0002.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the ornaments of the church evoke Tlalocan, paradise of the ancient deity of rain known as Tlaloc. Following this interpretation this study explores the relation between the Virgin Mary and the ancient Nahua deity of Earth and fertility called Tonatzin in order to show the profound syncretic bonds which exist between Christian and Mesoamerican traditions.
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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part I)." Ethnologia Actualis 16, no. 1 (June 1, 2016): 8–29. http://dx.doi.org/10.1515/eas-2016-0001.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. The scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as Assumption of Virgin Mary up to celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that the ornaments of the church evoke Tlalocan, paradise of ancient deity of rain known as Tlaloc. Following this interpretation this study explore a relation between Virgin Mary and ancient Nahua deity of Earth and fertility called Tonatzin in order to show profound syncretic bonds which exist between Cristian and Mesoamerican traditions.
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Szczur, Piotr. "Ojcowie Kościoła wobec bogactwa kościołów i przepychu liturgii. Zarys problematyki." Vox Patrum 57 (June 15, 2012): 641–57. http://dx.doi.org/10.31743/vp.4157.

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Examination of the Church Fathers’ teachings shows up a particular paradox. On the one hand they frequently required their listeners (or readers) to practise austerity, humility and poverty, since, as they explained practising these virtues was the easiest means of gaining the kingdom of heaven. However, on the over hand, they voiced these appeals in richly decorated churches furnished with price­less items, often made of gold or silver and decorated with precious jewels. For this reason, in the following work we undertook to attempt to answer the question as to why the Church Fathers did not condemn the magnificence of churches and expressed approval of the pomp and splendour of liturgy while at the same time decidedly opposing the ostentations excesses of the faithful and appealed for per­forming acts of charity. The analyses presented show that the Church Fathers simply assumed that there is nothing unworthy in using wealth to praise God. At the root of the views lies theology, which explains that the magnificence of churches will help the faith­ful to discern the spiritual reality present behind the expensive decorations and show the value of Christian worship and make present the splendour of heavenly liturgy. However, all the expensive decorations were perceived by them as unsuit­able for the sinful body since they did not serve the cause of brotherly love but only satisfied one’s own vanity. In the context of widely understood good works, the funding of expensive decorations and valuable equipment for churches always had only a secondary importance for the Church Fathers. For them, the undertak­ing of charitable deeds, as well as a concern for spiritual good, was more impor­tant than the external beauty of the Church, whose essence was not the precious ornaments, but the pure and unblemished soul of its members. The main value of gold, was perceived by the Church Fathers as a means of helping the poor. However, they acknowledged its symbolic meaning and its power to transpose the faithful into the sphere of heavenly reality. Allocating money for decoration of churches and the splendour of liturgy were thus seen as a certain good even if universally it was regarded as a relative good.
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Cross, Christopher. "Urban Design: Ornament and Decoration." URBAN DESIGN International 1, no. 2 (June 1996): 192. http://dx.doi.org/10.1057/udi.1996.26.

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Dissertations / Theses on the topic "Christian decoration and ornament"

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Kellaris, Georgios. "The iconography of sanctuary doors from Patmos and its place in the iconographic program of the Byzantine iconostasis." Thesis, McGill University, 1991. http://books.google.com/books?id=4OjVAAAAMAAJ.

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Thesis (M.A.)--McGill University, 1991.
Contains an English abstract and a French résumé. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 83-87).
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Heath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.

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Dathe, Stefanie. "La Vera Cruz in Segovia dialektische Untersuchung zu Ursprung, Baugeschichte und Funktion eines romanischen Zentralbaus in Alt-Kastilien /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47702819.html.

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Kiracofe, James Bartholomay. "Architectural fusion and indigenous ideology in early colonial Mexico : a case study of Teposcolula, Oaxaca, 1535-1580, demonstrating cultural transmission and transformation through negotiation and consent in planning a new urban environment /." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-11082006-133633/.

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Tomasztczuk, Daria Olana. "Theodoric the Great's palace church of Christ the Redeemer at Ravenna, the later Sant' Apollinare Nuovo." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98588.

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This thesis is an overview of the historical context in which the church of Christ the Redeemer (Sant'Apollinare Nuovo) in Ravenna, Italy, was erected. It explores the forces responsible for shaping the church at the time of its construction and decoration in the sixth century. The basilica had gained popularity of usage as a model for the Christian Church in the West by this time. This thesis further explores the conclusions put forth by scholars that the basilica was the forum in which the transition of architectural imperial symbolism from the pagan empire to the new Christian Church took place, that the Church adopted the court ceremony of the emperor for its liturgy, and that the symbolism previously associated with the emperor was transferred to Christ resulting in the identification of the basilica as the throne hall of Christ. A study of the mosaics adorning the nave walls describes the significance of their origins and meaning.
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Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /." Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.

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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.

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Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.

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Prickett, Douglas B. "Ornamentalism /." Online version of thesis, 1990. http://hdl.handle.net/1850/10938.

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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.

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Books on the topic "Christian decoration and ornament"

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Pugin, Augustus Welby Northmore. Pugin's ecclesiatical ornament. Mineola, NY: Dover Publications, 2005.

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Crawford, Henry S. Irish carved ornament: From monuments of the Christian period. Dublin: Published in collaboration with the Royal Society of Antiquaries of Ireland by Mercier Press, 1990.

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Mulhall, Isabella. Irish early Christian metal finger rings. Dublin: University College Dublin, 1998.

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Early Christian chapels in the west: Decoration, function and patronage. Toronto: University of Toronto Press, 2003.

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ill, Ravotti Lea Marie, ed. Signs & mysteries: Revealing ancient christian symbols. Huntington, IN: Our Sunday Visitor Pub., 2008.

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Tisdall, M. W. The flowers of Exeter: The ideas concealed within the decoration. Plymouth: Charlesfort, 2005.

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Inc, Thimbleberries, ed. Thimbleberries Christmas cottage: Country-cottage style decorating, entertaining, collecting, and quilting inspirations for creating your dream Christmas. Cumming, IA: Landauer Books, 2001.

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Artur, Liebig, Kratzsch Irmgard, and Universitätsbibliothek Jena, eds. Gottlieb Christian Bernhard Heller und seine Musterbücher in der Universitätsbibliothek Jena. Jena: Die Bibliothek, 1988.

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Christian III og Dronning Dorotheas anetavler i Sønderborg Slotskirke. Sønderborg: Museum Sønderjylland-Sønderborg Slot, 2010.

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Albertini, Gabriella. Simboli d'arte nel romanico d'Abruzzo. [Pescara, Italy]: Ediars, 1999.

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Book chapters on the topic "Christian decoration and ornament"

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Zimmermann, Norbert. "Catacombs and the Beginnings of Christian Tomb Decoration." In A Companion to Roman Art, 452–70. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch23.

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Massey, Jonathan. "Ornament and Decoration." In The Handbook of Interior Architecture and Design. BLOOMSBURY VISUAL ARTS, 2013. http://dx.doi.org/10.5040/9781474294096.ch-035.

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Aristova, Maria-Anna. "Decoration in the Desert:." In Ornament and Monstrosity in Early Modern Art, 153–74. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvxkn5n8.9.

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"The City Floor." In Urban Design: Ornament and Decoration, 99–114. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-10.

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"Landmarks, Sculpture and Furniture." In Urban Design: Ornament and Decoration, 115–44. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-11.

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"Colour in the City." In Urban Design: Ornament and Decoration, 145–56. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-12.

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"Conclusion – The City of Today and Tomorrow: Ornament and Decoration." In Urban Design: Ornament and Decoration, 157–68. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-13.

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"Epilogue." In Urban Design: Ornament and Decoration, 169–86. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-14.

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"Theory and Philosophy of Ornament and Decoration." In Urban Design: Ornament and Decoration, 13–36. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-6.

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"The Façade." In Urban Design: Ornament and Decoration, 37–60. Routledge, 2007. http://dx.doi.org/10.4324/9780080521657-7.

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Conference papers on the topic "Christian decoration and ornament"

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López González, Concepción. "La decoración lítica de las Torres de Serranos de Valencia." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11346.

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The lithic decoration of the Serranos Towers of ValenciaThe apparent austerity of this powerful door of the Christian wall of the city of Valencia built in 1392 by Pere Balaguer, encloses a magnificent and rich decoration of carved stone. The intervention aimed at cleaning the stone promoted by the City Council, allowed an in-depth study of the ornamentation that had not been previously carried out. A graphic study of all the pieces of carved stone that decorate the Towers was made. The different types of decoration carved in stone were established according to three parameters: according to their function, according to the theme or ornamental motif and according to the type of size used. Likewise, comparative analyzes were established with other buildings constructed in the Crown of Aragon at the same time. This study showed the influences and collaborations between stonework workshops that worked in different geographical points.
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Yu, Tao, Hao Shen, Qianchao Chai, Fei Chen, Ledan Qian, and Yi Li. "Flexible Ornament Selection System for VR Decoration Exhibition." In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00039.

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