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Dissertations / Theses on the topic 'Christian symbolism'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

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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2

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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3

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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4

Wallace, Jan. "Humanizing the Abyss : the use of Christian and non-Christian symbolism in the work of William Blake." Thesis, University of Ulster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432847.

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5

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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6

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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7

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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8

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

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9

Kordis, George D. "St. Nikodemos the Hagiorite on Byzantine iconography." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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10

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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11

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

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12

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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13

Bullough, Kathryn Mary. "Temptress, virgin and whore : icons of sexuality - a comparative investigation of the religious significance of the figures Eve, the Virgin Mary and Mary Magdalen in the work of Dante Gabriel Rossetti, Edward Burne-Jones and George Frederick Watts." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369551.

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14

Moroney, James P. "Neophyte vesture in rite and image during the sixth and seventh centuries of western liturgy." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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15

Kakaletris, George. "Icons the concerns inherent within the theology of the Eastern Orthodox Church on iconography /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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16

Brunelle, Norman L. "Equipping the congregation to symbolic awareness and understanding of resident architecture and Christian symbols at Trinity United Methodist Church, Opelika, AL." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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17

Scott, Ian W. "Among God's people Palestinian Jewish symbols of community membership in the Gospel of Matthew /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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18

Costa, Roberto. "The domestication of the cross symbolism and images in Andean Peru /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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19

Alibhai, Ali Asgar H. "From sound to light The changing symbolism of bells in Medieval Iberia in Christian and Muslim contexts /." Ann Arbor, Mich. : ProQuest, 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:1458189.

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Thesis (M.A. in Medieval Studies)--S.M.U.
Title from PDF title page (viewed Mar. 16, 2009). Source: Masters Abstracts International, Volume: 47-01, page: 0138. Adviser: Pamela Patton. Includes bibliographical references.
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20

Goldfus, Haim. "Tombs and burials in churches and monasteries of Byzantine Palestine (324-628 A.D.)." Full text available, 1997. http://images.lib.monash.edu.au/ts/theses/goldfus.pdf.

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21

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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22

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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23

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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24

Hudson, Hugh. "Paolo Uccello : the life and work of an Italian Renaissance artist /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00002997.

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25

Jones, Ariane. "Giacomo Manzù as a religious artist." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55606.

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26

Halla, Steve Richard. "The Wittenberg altarpiece and its reflection of Martin Luther's expressed views of the visual arts." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

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27

Werner, Xenia. "Marian typology an analysis of hymnography and iconography /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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28

Wilkerson, Waverly W. "Implementing a plan for the usage of visual symbols in baptism and the Lord's Supper at First Baptist Church of Groveport, Ohio." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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29

Essex, Sandra Mikel. "Metal concepts : the calligraphic image." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897526.

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This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry.
Department of Art
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30

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
Banca: Claudete Ribeiro
Banca: Ana Maria Netto Nogueira
Banca: Mozart Alberto Bonazzi da Costa
Banca: Maria José Spiteri Tavolaro Passos
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 processo de restauração, sob coordenação do Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN. Daquele momento até o presente, outras relevantes descobertas envolvendo Jesuíno foram efetuadas na cidade de Itu (SP): na Igreja Matriz de Nossa Senhora da Candelária, onde o padre pintor trabalhou em parceria com o Mestre José Patrício da Silva Manso (1740-1801), foram resgatadas pinturas parietais do século XVIII e indícios da participação de outros artífices até então desconhecidos pelos pesquisadores, além de trechos de um tabuado com pinturas inéditas de Jesuíno. Desse modo, a finalização do restauro da Carmo paulistana, mais as recentes descobertas da Matriz ituana e a possível recuperação do painel do teto da Igreja do Carmo de Itu, também de autoria de Jesuíno, somadas à busca dos possíveis referenciais iconográficos utilizados pelo sacerdote artista, ampliam a obra pictórica do padre Jesuíno do Monte Carmelo e fornecem material para que se realize uma revisão sobre a relevância de sua produção para a história da arte paulista e brasileira
Abstract: This research aims to continue the work started in my master's dissertation about the pictorial work of Jesuíno Francisco de Paula Gusmão, known in the history of Brazilian art as Priest Jesuíno do Monte Carmelo (1764-1819). Presented in 2010, the initial studies covered the works of the artist found in the Church of the Ordem Terceira do Carmo de São Paulo and its restoration process, coordinated by the Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN. From that time until the present, other relevant discoveries involving Jesuíno were made in the city of Itu (SP): in the Church of Nossa Senhora da Candelária, where the painter priest worked with the Master José Patrício da Silva Manso (1740-1801), parietal paintings from the eighteenth century were rescued and evidence the involvement of other craftsmen hitherto unknown by the researchers, as well as fragments from a clapboard with new paintings by Jesuíno. Thus, the completion of the restoration of the Igreja do Carmo de São Paulo, more recent discoveries of Itu's Mother Church and the possible recovery of the ceiling painting of the Igreja do Carmo de Itu, also authored by Jesuíno, together with the search for possible iconographic references used by the priest artist, extend the pictorial work of Priest Jesuíno do Monte Carmelo and provide material for that conduct a review of the relevance of its production to the history of São Paulo art and Brazilian art
Doutor
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31

Haller, Jeffrey. "The image of the unseen God contextual relevance in the visual portrayal of Christ /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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32

Fernandez, Samuel. "Popular religiosity and Hispanic liturgy toward a mutual enrichment /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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33

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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34

Gould, J. A. "The religious orders and collegiate churches in Scotland, c. 1450-1560 popular perceptions and reactions /." Thesis, Connect to e-thesis, 1996. http://theses.gla.ac.uk/964/.

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Thesis (Ph.D.) -- University of Glasgow, 1996.
Submitted to the Scottish History Department, University of Glasgow in fulfilment for the degree of Doctor of Philosophy. Includes bibliographical references (vol 1. p. 674 - 750). Print version also available. Mode of access : World Wide Web. System requirements : Adobe Acrobat reader required to view PDF document.
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35

Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art." Thesis, View thesis View thesis, 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
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36

Peers, Glenn Alan. "The iconography of the archangel Michael on Byzantine icons /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66084.

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37

Earls, Darlene Knies. "The promise comes from faith /." Online version of thesis, 1993. http://hdl.handle.net/1850/11767.

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38

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

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39

Milson, David. "Aspects of the impact of Christian art and architecture on synagogues in Byzantine Palestine." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:17261fb5-fbfb-4417-90a3-f0d01673f262.

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This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.
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40

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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41

Mahan, Kevin Paul. "It was and It isn't a rhetorical exploration of simulacra in emerging church vintage worship /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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42

Wilde, Marc. "Das unbekannte Schlüsselwerk : Die Madonna del Bordone des Coppo di Marcovaldo in Siena /." Weimar : VDG, 2004. http://www.loc.gov/catdir/toc/fy0701/2005424884.html.

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43

Moeller, Mark L. "Using varied forms of communication to enhance worship engagement at First Baptist Church of San Angelo, Texas." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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44

Leonhard, Aimee E. H. "The Amesbury Psalter : an exploration in contexts /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420933.

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45

Heger, Mary Anise. "One cross, two painters the theology of the cross from an art-historic perspective /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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46

O'Loughlin, John. "Vessels for miracles : a tangible expression of an unwillingness to disallow belief." Thesis, University of Ballarat, 2007. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/44436.

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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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47

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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48

Penkrat, Tatiana. "Image and liturgy the history and meaning of the Epitaphion /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.

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49

Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.

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In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.
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50

Sommer, Anke Elisabeth. "Glasmalereien der Protestantischen Landeskirche der Pfalz : leuchtende Botschaft christlichen Glaubens im Kontext ihrer Zeit /." Regensburg : Schnell + Steiner, 2007. http://www.loc.gov/catdir/toc/fy0714/2007440023.html.

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