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Dissertations / Theses on the topic 'Christian sacred art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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Consult the top 22 dissertations / theses for your research on the topic 'Christian sacred art.'

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1

Miller, Brett A. "The sacred art of verbal self-defense : image restoration discourse in christian rhetoric /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962548.

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2

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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3

Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.

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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses

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4

Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.

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5

Wheeler, Geraldine Jean, and res cand@acu edu au. "Visual Art, the Artist and Worship in the Reformed Tradition: a Theological study." Australian Catholic University. School of Arts and Science, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp41.29082005.

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The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly dev

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6

Barush, Kathryn R. ""Every age is a Canterbury pilgrimage" : art and the sacred journey in Britain, c. 1790-1850." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:63e1545c-1362-4bc3-bbc3-b950eecf7c70.

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This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scri

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7

Ambroselli, Maximilien. "George Desvallières, Georges Rouault, Léon Bloy : vers un art "néo-chrétien" ? (1901-1914)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H027.

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Fruits d’une observation directe de la vie nocturne, les nouvelles peintures que George Desvallières et Georges Rouault exposent au Salon d’automne à partir de 1903 s’imprègnent peu à peu d’un christianisme implicite, en traduisant un profond sentiment de pitié ressenti à l’égard des prostituées et des forains. L’émergence de ce nouveau type de production, à laquelle se trouve rapidement associée la figure du Christ souffrant, semble encouragée par la forte personnalité de l’écrivain Léon Bloy, rencontré par les deux peintres en avril 1904. En privilégiant l’impact émotionnel, Desvallières et

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8

Meïmaris, Giannis E. "Sacred names, saints, martyrs and Church officials in the Greek inscriptions and papyri pertaining to the Christian Church of Palestine /." Athens : Paris : Research centre for Greek and Roman antiquity, the National Hellenic research foundation ; diff. de Boccard, 1986. http://catalogue.bnf.fr/ark:/12148/cb36632633z.

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9

Murayama, Eduardo Tsutomu 1981. "A pintura de Jesuíno do Monte Carmelo em São Paulo e Itu : busca dos referenciais iconográficos e novas considerações /." São Paulo, 2016. http://hdl.handle.net/11449/138619.

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Orientador: Percival Tirapeli<br>Banca: Claudete Ribeiro<br>Banca: Ana Maria Netto Nogueira<br>Banca: Mozart Alberto Bonazzi da Costa<br>Banca: Maria José Spiteri Tavolaro Passos<br>Resumo: Esta pesquisa tem como objetivo dar continuidade ao trabalho iniciado na minha dissertação de mestrado, sobre a obra pictórica de Jesuíno Francisco de Paula Gusmão, conhecido na historiografia da arte brasileira como Padre Jesuíno do Monte Carmelo (1764-1819). Apresentada em 2010, os estudos iniciais cobriram as obras do artista então encontradas na Igreja da Ordem Terceira do Carmo de São Paulo e seu proce

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10

Job, Lynn R. (Lynn Renee). "Elatio: Praises and Prophecies." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935642/.

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ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.

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11

Soares, Maurílio Guimarães. "Representações simbólicas em percurso efêmero: o Corpus Christi em cor e areia." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6120.

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Através da pesquisa de campo realizada nas festas de Corpus Christi da cidade de Matão/SP nos anos 2011 e 2012, são abordados os temas festa, imagem, cultura e sagrado. Especificamente focada na confecção dos tapetes, são observados e analisados seus processos e representações em aspectos individuais e coletivos. São inúmeros seus significados e interpretações se o percebemos em sua forma viva de seu lastro histórico até os dias atuais. Saliento a importância do registro desta manifestação cultural, pois através dele do estudo de suas imagens e significações buscamos um maior entendimento de

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12

Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her

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13

Pereira, Danielle Manoel dos Santos [UNESP]. "A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86897.

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Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-30Bitstream added on 2014-06-13T20:28:53Z : No. of bitstreams: 1 pereira_dms_me_ia.pdf: 2875732 bytes, checksum: ccf1d90300572347cb5641930beea4a5 (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Universidade Estadual Paulista (UNESP)<br>Esta dissertação analisa e compara as pinturas coloniais da região de Diamantina e do Serro, no meio-norte de Minas Gerais, com as pinturas do forro da Igreja da Ordem Terceira do Carmo de Mogi das Cruzes, em São Paulo. Os estudos

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14

Pereira, Danielle Manoel dos Santos 1982. "A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil) /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86897.

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Orientador: Percival Tirapelli<br>Banca: Norberto Stori<br>Banca: Everaldo Batista da Costa<br>Resumo: Esta dissertação analisa e compara as pinturas coloniais da região de Diamantina e do Serro, no meio-norte de Minas Gerais, com as pinturas do forro da Igreja da Ordem Terceira do Carmo de Mogi das Cruzes, em São Paulo. Os estudos desenvolvidos procuram avaliar as possibilidades de influência, ainda que apenas visual, dessas pinturas mineiras sobre as obras paulistas. As obras da rota do Serro (MG) são classificadas como pertencentes aos ciclos barroco e rococó da pintura mineira. São obras d

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15

Persona, Emerson. "A imagem de Maria Bueno na representação artística de Raul Cruz." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2578.

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O objetivo deste trabalho é estudar as representações artísticas das imagens de Maria Bueno (1854-1893), especificamente na pintura “Retrato de Santa Maria Bueno”, de Raul Cruz. Com este objetivo, analisam-se as particularidades e o contexto de produção desta pintura, dentro do universo do artista. As imagens de Maria Bueno são sacralizadas por parte da população da capital paranaense e, sendo assim, estuda-se neste trabalho o seu processo de sacralização. A partir de seu assassinato em 29 de janeiro de 1893, começam a lhe ser atribuídos milagres. Uma vez que não existe nenhum registro fotográ

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16

Pereira, Danielle Manoel dos Santos 1982. "Autoria das pinturas ilusionistas do estado de São Paulo : São Paulo, Itu e Mogi das Cruzes (Brasil) /." São Paulo, 2017. http://hdl.handle.net/11449/150703.

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Orientador: Percival Tirapeli<br>Banca: Omar Khouri<br>Banca: André Luiz Tavares Pereira<br>Banca: Marcos Horácio Gomes Dias<br>Banca: Marcos Tognom<br>Resumo: A presente pesquisa tem por objetivo buscar, nas fontes primárias, as autorias das pinturas ilusionistas de algumas igrejas coloniais do Estado de São Paulo. Foram selecionadas as igrejas das cidades de São Paulo - igreja da Venerável Ordem Terceira de São Francisco da Penitência da cidade de São Paulo (pintura no forro da capela-mor, medalhão da nave e zimbório) e a igreja da Venerável Ordem Terceira de Nossa Senhora do Carmo (pintura

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17

Di, Croce Alessandra. "Sacred Fragments: The reception of Christian Antiquity in post-Tridentine Rome." Thesis, 2017. https://doi.org/10.7916/D8VH617S.

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This dissertation analyzes cultural attitudes and modes of reception of Christian antiquity and Early Christian art in late sixteenth-century post-Tridentine Rome, and its effects on the antiquarian, historical, and artistic culture of the time. It challenges the established scholarly paradigm that Christian archaeology was an apologetic discipline and the by-product of Catholic ideology, and argues instead that the discovery and investigation of Christian antiquity was instrumental to the critical reappraisal of the methods of classical historical scholarship, leading to a fundamental revolut

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18

Parker, Timothy Kent 1967. "The modern church in Rome : on the interpretation of architectural and theological identities, 1950-80." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2306.

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Modern religious architecture is studied and understood inadequately, partly because modernity has been considered antithetical to religious practice and belief, and partly because studies of modern religious architecture have typically sidelined its distinctively religious aspects. Furthermore, would-be interpreters have lacked an adequate interpretive framework for the modern and religious identities that together characterize modern religious architecture. Thus, the problem is rooted both in history and theory: the solution requires 1) an interdisciplinary approach to the historical contex

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19

Kalas, Gregor A. "Sacred image, urban space image, installations, and ritual in the early medieval Roman forum /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/49623530.html.

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20

Siemieniec, Anna. "Gdzie Zachód spotyka się ze Wschodem. Witraże Adama Stalony-Dobrzańskiego." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3952.

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Praca doktorska napisana pod kierunkiem ks. bp. dr. hab. Michała Janochy, prof. UW oraz ks. dr. Henryka Paprockiego Warszawa 2020 2 Polska sztuka witrażowa, począwszy od 2. połowy XIX wieku po dzień dzisiejszy, jest dziedziną wciąż oczekującą gruntownego poznania i głębszej analizy. Za niezinwentaryzowanymi witrażami tego okresu, wypełniającymi wnętrza polskich świątyń, a także budowli świeckich, stoją anonimowe postaci twórców, czekający na docenienie ich artystycznego dorobku i wpisanie na karty polskiej historii sztuki. Braki w opracowaniu dziejów witrażownictwa okazują się tym wyraźniejsze

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21

Cashen, Paul William Dillon. "From the Sacred Heart to the heart of the sacred The spiritual journey of Australian Catholics since the Second Vatican Council /." 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp93.29052006/index.html.

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Thesis (PhD.) -- Australian Catholic University, 2005.<br>Submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy. Bibliography: p. 275-287. Also available in an electronic format via the internet.

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22

Fernandes, José Alberto de Sousa Fernandes. "Padre Manuel Juvenal Pita Ferreira : 1912-1963 : a importância do seu contributo pastoral na Diocese do Funchal." Master's thesis, 2021. http://hdl.handle.net/10400.14/32868.

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O presente trabalho estuda a vida e obra do padre Manuel Juvenal Pita Ferreira, nascido em 1912, sacerdote da Diocese do Funchal e uma figura destacada no século XX. Marcou muito o seu tempo nos campos religioso, histórico, cultural e social, destacando-se, desde cedo, enquanto seminarista (primeiro, no Mosteiro Novo; depois, no Seminário da Encarnação), pela sua fina sensibilidade para as questões da doutrina e da história. Ordenado presbítero em 1935, é nomeado para importantes cargos eclesiásticos, sendo, mais tarde, vigário paroquial na Ribeira Brava (1938-1940) e em São Vicente (1940-1941

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