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Journal articles on the topic 'Church architecture, germany'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Tabyisova, Fedosia W. "Trio Texture in Choral Arrangements and Polyclavier Organ of Southern Germany in the First Third of the 16th Century." Contemporary Musicology, no. 2 (2022): 81–106. http://dx.doi.org/10.56620/2587-9731-2022-2-081-106.

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The article is an attempt to establish a relationship between the structure of large South German church organs of the first third of the 16th century and the compositional features of the thencontemporary organ works. The historical boundaries of the Renaissance in German architecture and music do not coincide, while an organ may be viewed as an architectural element. This contradiction presents a certain difficulty. In the indicated period, the late Gothic architectural style, which preceded the Renaissance, played a leading role. As we see it, the organ music of this time, usually attribute

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Singler, Sofia, and Maximilian Sternberg. "The Civic and the Sacred: Alvar Aalto's Churches and Parish Centres in Wolfsburg, 1960–68." Architectural History 62 (2019): 205–36. http://dx.doi.org/10.1017/arh.2019.8.

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AbstractThis article considers Alvar Aalto's two church and parish centre projects in Wolfsburg in light of the architectural, political and sociocultural contexts that framed their design and construction in post-war Germany. The study interrogates how architect and parish came together to build the ecclesiastical complexes of Heilig-Geist (1960–62) and Stephanus (1963–68), and how the parties interacted and engaged with widely debated issues in church architecture and urban planning. Close analysis of the buildings and their design processes, based on site visits as well as the study of arch

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Makała, Rafał. "Dwa kościoły. Budownictwo kultowe w międzywojennych Niemczech jako przestrzeń modernistycznych eksperymentów." Porta Aurea, no. 19 (December 22, 2020): 325–46. http://dx.doi.org/10.26881/porta.2020.19.17.

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The time between WW I and II was a period of intensive development of church architecture in Germany. In the new situation after the defeat in WW I on the wave of Christian renewal movements, the concept of the church as a building corresponding to its functions, as an object expressing the character of religion and the vision of a congregation as a community in modern society was re -formulated. The dynamically developing church architecture was an area of intense experiments (especially in the 1920s.), creating new forms, as well as devising new iconography by Rudolf Schwartz, Otto Bartning,

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WEBER, FRIEDRICH, and CHARLOTTE METHUEN. "The Architecture of Faith under National Socialism: Lutheran Church Building(s) in Braunschweig, 1933–1945." Journal of Ecclesiastical History 66, no. 2 (2015): 340–71. http://dx.doi.org/10.1017/s0022046913002571.

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It has frequently been assumed that church building ceased after the National Socialists came to power in Germany in 1933. This article shows that it continued, and considers the reasons why this was the case. Focussing on churches built in the Church of Braunschweig between 1933 and 1936, it explores the interactions between emergent priorities for church architecture and the rhetoric of National Socialist ideology, and traces their influence on the building of new Protestant churches in Braunschweig. It examines the way in which Braunschweig Cathedral was reordered in accordance with Nationa

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Harasimowicz, Jan. "Longitudinal, Transverse or Centrally Aligned? In the Search for the Correct Layout of the ‘Protesters’ Churches." Periodica Polytechnica Architecture 48, no. 1 (2017): 1–16. http://dx.doi.org/10.3311/ppar.11309.

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The article was written within the framework of a research project “Protestant Church Architecture of the 16th -18th centuries in Europe”, conducted by the Department of the Renaissance and Reformation Art History at the University of Wrocław. It is conceived as a preliminary summary of the project’s outcomes. The project’s principal research objective is to develop a synthesis of Protestant church architecture in the countries which accepted, even temporarily, the Reformation: Austria, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Hungary, Island, Latvia, Lithuani

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Zahner, Walter. "Interaction/Cooperation." Actas de Arquitectura Religiosa Contemporánea 7 (October 1, 2020): 2–23. http://dx.doi.org/10.17979/aarc.2020.7.0.6284.

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Since 2000, in Germany there are both new built churches (around one hundred, sixty for the Catholic dioceses) and abandoned churches (around 500-600 Catholic churches, as well as some 500 Protestants). The reconverted churches are a reality in the north and east of Germany, up to half the country. In the south, both in the Catholic dioceses and in the Protestant regional churches, there are only some first examples and initial debates on these issues. Most of the relevant works of architecture and art within ecclesiastical organizations are churches reorganized from the point of view of the p

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Buchner, Maximiliane. "Wiederaufbau aus dem Glauben." Architectura 46, no. 1 (2016): 104–27. http://dx.doi.org/10.1515/atc-2016-0006.

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AbstractEuropean architecture in the second-half of the 20th century had many different roles to fulfil. Initially it sought to reconnect to what had been the ›modern style‹ before the outbreak of World War II, or rather, before the rise of National Socialism in Germany and Austria. This is true in a very special way for sacral architecture. After the human catastrophe of the Nazi regime with its destruction and desperation, all eyes were on the Church awaiting a statement. This was made not only through the erection of newly-built churches – in a density unique in the history of church buildi

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Чекмарёв, Андрей Викторович, and Ирина Викторовна Белинцева. "TEMPLE IN GROSSENASPE (SCHLESWIG-HOLSTEIN, GERMANY): THE RUSSIAN TRAIL OF THE ERA OF CATHERINE II." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(13) (June 5, 2020): 272–95. http://dx.doi.org/10.25995/niitiag.2020.13.2.013.

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Cтатья посвящена описанию процесса проектирования и архитектурному анализу приходской церкви в Гроссенаспе (земля Шлезвиг-Гольштейн), связанной с историей российско-немецких отношений в XVIII в. Обстоятельства появления этого памятника отсылают к краткому и яркому периоду, когда Россия активно участвовала в решении судеб ряда немецких территорий, а российская императрица Екатерина II являлась регентом Голштинии при малолетнем сыне Павле, унаследовавшем от Петра III корону Гольштейн-Готторпа. Екатерина содействовала постройке храма, лично утвердив в 1771 г. проект архитектора Иоганна Адама Рихт

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Dark, Ken. "Gerd Detemple, Weltkulturerbe. Trierer Dom: Einblicke in Deutschlands älteste Kathedrale. Regensburg: Verlag Schnell & Steiner, 2021, 192 pp., 23 ill., and 81 photos." Mediaevistik 34, no. 1 (2021): 312. http://dx.doi.org/10.3726/med.2021.01.37.

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This is a ‘coffee-table’ book on Trier cathedral, in part the oldest church building used today in Germany, dominated by superb color photographs taken by Gerd Detemple. These are produced splendidly in large – often full-page – format, and are a credit to the photographer and publisher alike. As such, the book will appeal to several markets: scholars who are studying the art and architecture of the cathedral; students of art and architectural history; those with an amateur interest in art-history, architectural history or the city of Trier, and those who have visited Trier and been to the bui

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SERAFIN, Aleksander. "THE NEWEST CHURCH ARCHITECTURE IN GERMANY. AESTHETIC ASPECTS OF FORM - ANALYSIS OF SELECTED EXAMPLES." Architecture, Civil Engineering, Environment 9, no. 4 (2016): 43–52. http://dx.doi.org/10.21307/acee-2016-051.

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Concas, Daniela. "Liturgical renovation of modern churches in Rome (Italy)." Resourceedings 2, no. 3 (2019): 39. http://dx.doi.org/10.21625/resourceedings.v2i3.623.

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At the beginning of the first half of the twentieth century the bond between ars-venustas and cultus-pietas has produced many churches of Roman Catholic cult.It’s between the 20s and 60s of the twentieth century that the experiments of the Liturgical Movement in Germany lead to the evolution of the liturgical space, which, even today, we see engraving in modern churches in Rome (Italy).The Council of Trent (1545-1563) constitutes the precedent historical moment, in which the Church recognised the need for major liturgical renovation of its churches. In comparison with this, the Second Vatican

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Lewicki, Jakub. "PERSPEKTYWY OCHRONY ŚWIATOWEGO DZIEDZICTWA W POLSCE – CZYLI TENTATIVE LIST I PROPOZYCJE MOŻLIWYCH DO ZGŁOSZENIA KANDYDATUR NA LISTĘ ŚWIATOWEGO DZIEDZICTWA." Protection of Cultural Heritage, no. 4 (November 29, 2017): 129–42. http://dx.doi.org/10.24358/odk_2017_04_13.

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The article discusses Polish suggestions of new inscriptions into the UNESCO World Heritage List. The waiting items mentioned in the Tentative List were presented. Currently the Polish version of the List numbers 5 items. They are: Gdańsk, Town of Memory and Freedom (2005), The Augustów Canal (2006), The Dunajec River Gorge in the Pieniny Mountains (2006), Extension to the Joint World Heritage Property “Primeval Beech Forests of the Carpathians (Slovak Republic and Ukraine) and the Ancient Beech Forests of Germany (Germany)” (2015), “Krzemionki”, prehistoric flint mines (2016). Other offered s

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SCHILLING, HEINZ. "Calvinist and Catholic cities – urban architecture and ritual in confessional Europe." European Review 12, no. 3 (2004): 293–312. http://dx.doi.org/10.1017/s1062798704000286.

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Urban history, at least in Germany, has mainly concentrated on the Medieval and Reformation cities on the one hand and Industrial and Contemporary cities on the other. However, recent debates among Early Modernists have produced the view that ‘confessionalization’, that is the formation of three or four modern church systems based on specific confessions of faith, was one of the most influential factors in producing the fundamental changes that occurred between 1550 and 1650 in Europe. This had a huge effect on the cities of Europe and their inhabitants. This paper compares Catholic and Protes

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Neagley, Linda Elaine. "The Flamboyant Architecture of St.-Maclou, Rouen, and the Development of a Style." Journal of the Society of Architectural Historians 47, no. 4 (1988): 374–96. http://dx.doi.org/10.2307/990382.

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The construction of St.-Maclou after 1432 revitalized architecture in Rouen and Normandy for the next 90 years. Both the patrons and the architect played a significant role in the emergence of this new style. The architecture has been attributed to the Parisian master Pierre Robin, but the stylistic evidence based on a unique vocabulary of forms suggests that the St.-Maclou master was trained in the Norman Vexin and had a knowledge of architecture of Germany, Flanders, and central Europe. The parish church was also modeled on several monumental features found at the cathedral of Rouen includin

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Miedziak, Witold. "“The memory of Middle Ages” in church architecture of Italian architects in 16th c. Poland: Problem outline and research postulates." Quart, no. 2(64) (June 1, 2022): 104–21. http://dx.doi.org/10.19195/quart.2022.2.94071.

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It is undoubtful that the Italian Renaissance, understood as the totality of phenomena associated with the concept of the revival of antiquity, had a huge impact on European culture. Simultaneously, there is no question that the development of the revival idea on the Apennine Peninsula was different than in the rest of Europe, north of the Alps. These differences resulted primarily, but not exclusively, from the firm establishment and influence of medieval traditions. The contrast between north and south of Europe was particularly visible in church architecture and in the, newly emerging, arti

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BOSTENARU DAN, Maria, and Alexandra MEILA. "German Church Architecture." Journal of Urban and Landscape Planning, no. 3 (June 18, 2018): 87–98. http://dx.doi.org/10.54508/julp.03.09.

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17

Silver, Larry, and Norbert Nussbaum. "German Gothic Church Architecture." Sixteenth Century Journal 32, no. 2 (2001): 623. http://dx.doi.org/10.2307/2671851.

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Anatoliev, Mitko. "Some Public Buildings of Vasilyov-Tsolov Architectural Bureau." Sledva : Journal for University Culture, no. 41 (August 20, 2020): 104–10. http://dx.doi.org/10.33919/sledva.20.41.15.

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After a short survey of influences of German architecture on the formation of Bulgarian architectural scene after the Liberation (1878), the paper focuses on the interwar period known for its architectural practices, consisting of two leading architects. The influence of the modernist movements from this period on the classical architecture of the state and public buildings in Bulgaria is traced through the history of Vasilyov-Tsolov Architectural Bureau, its formation and philosophy. The article presents four examples of their significant projects, which are the pinnacle of their careers and

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19

Popovic, Marko. "The Saxon church in Novo Brdo - Santa Maria in Novomonte." Starinar, no. 69 (2019): 319–47. http://dx.doi.org/10.2298/sta1969319p.

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The site with the remains of the Saxon church, that is, the former Catholic church of St Mary, lies on a mild slope that descends from the fort to the southeast, or the village of Bostane. Located at a distance of about 1,200 m from Novo Brdo?s Lower Town, it was outside this former urban area. It was intermittently investigated in the 1950s and ?60s, but the complete results of these works have not been published. With this in mind, after almost six decades, an attempt was made, based on the remaining fieldwork documentation, to examine in more detail the complex of this important Novo Brdo e

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Kovalev, Boris. "Reports of the Soviet state security agencies as a source on the history of the Church in the occupied territory of the Leningrad region (1941–1944)." Vspomogatel'nye istoricheskie distsipliny, no. 43 (4) (2024): 166. https://doi.org/10.7868/s0130086524040085.

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In the second half of 1944, after the liberation of the western regions of the Leningrad region from the Nazis and their allies, the NKGB Directorate prepared a “Collection of materials on German devastation and atrocities, the activities of enemy intelligence and counterintelligence agencies in the occupied areas of the region”. A separate section was called “The Church in the Service of the Germans”. It discussed the destruction of monuments of Russian ecclesiastical architecture by the Nazis. Particular attention was paid to various forms of cooperation between Russian priests and the Germa

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Pasachoff, Jay, and Roberta Olson. "St. Benedict Sees the Light: Asam's Solar Eclipses as Metaphor." Religion and the Arts 11, no. 3-4 (2007): 299–329. http://dx.doi.org/10.1163/156852907x244548.

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AbstractDuring the Baroque period, artists worked in a style—encouraged by the Roman Catholic Church and the Council of Trent—that revealed the divine in natural forms and made religious experiences more accessible. Cosmas Damian Asam, painter and architect, and his brother Egid (Aegid) Quirin Asam, sculptor and stuccatore, were the principal exponents of eighteenth-century, southern-German religious decoration and architecture in the grand manner, the Gesamtkunstwerk. Cosmas Damian's visionary and ecstatic art utilized light, both physical and illusionistic, together with images of meteorolog

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Pandey Sharma, Jyoti. "Architectural Adventurism in Nineteenth-Century Colonial India: Begum Samru and Her Sardhana Church." International Journal of Islamic Architecture 9, no. 1 (2020): 61–89. http://dx.doi.org/10.1386/ijia_00004_1.

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Abstract This article explores the politically fluid and culturally hybrid environment of the Indian subcontinent during the late eighteenth and nineteenth centuries. Interaction between European mercenaries and their Indian patrons led to acculturation of both sides. This cultural affinity also extended into the realm of architecture and building patronage, resulting in a stylistic hybridity that drew upon both Indian and European traditions. This article examines the building projects of Begum Samru, bibi (consort) of a German mercenary and ruler of Sardhana near Delhi. The Begum, born a Mus

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Böker, Hans. "German Gothic Church Architecture. Norbert Nussbaum , Scott Kleager." Speculum 77, no. 3 (2002): 956–59. http://dx.doi.org/10.2307/3301175.

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Mignucci, Andrés. "Casa Fullana: a model for modern living in the tropics." Modern Houses, no. 64 (2021): 26–33. http://dx.doi.org/10.52200/64.a.zebgxty3.

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Casa Fullana [Fullana House], built in 1955 in San Juan, Puerto Rico, is an exemplary model of Henry Klumb’s (1905-1984) design principles for modern living in the tropics. German architect Henry Klumb conducted a prolific architectural practice in Puerto Rico, producing some of the most iconic examples of tropical modernism in the Caribbean. His work, most notably at the University of Puerto Rico (1946-1966) (UPR) and in landmark projects like the San Martin de Porres Church (1948) in Cataño, constituted a breakthrough in Puerto Rican, Caribbean and Latin American architecture. Anchored in th

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Bertash, Alexander. "Alexander Nevsky cathedral in Tallinn as a monument of Russian style in Estonia." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 95–113. http://dx.doi.org/10.15382/sturv202248.95-113.

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The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predomi

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Böker, Hans J. "York Minster's Nave: The Cologne Connection." Journal of the Society of Architectural Historians 50, no. 2 (1991): 167–80. http://dx.doi.org/10.2307/990591.

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Within the stylistic development of English Gothic architecture of the late thirteenth century, the nave of York Minster stands quite apart for its clear continental orientation. Only the great western window and the high vault-both inserted after the structural completion of the nave-conform to the standards of the Decorated Style that dominated English ecclesiastical buildings around 1300. The architecture of the nave itself has generally been regarded as an offspring of the French Rayonnant Gothic, although no specific building could be positively identified as its source; comparisons have

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Crossley, Paul. "Review: German Gothic Church Architecture by Norbert Nussbaum, Scott Kleager." Journal of the Society of Architectural Historians 60, no. 1 (2001): 93–96. http://dx.doi.org/10.2307/991685.

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T.Batbayar, T. Batbayar, G. Eregzen G.Eregzen, and S. Yang S.Yang. "A Study on the Nestorian Christian Church Site in Karakorum, Mongolia." Central Institute of Cultural Heritage 45 (October 31, 2024): 65–89. http://dx.doi.org/10.20292/jcich.2024.45.65.

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This paper examines the possibility that a complex architectural site, excavated by the Mongol-German joint research team from 2006 to 2009, located in the northern outskirts of Karakorum, may have been a Nestorian Christian church. The rectangular complex, surrounded by earthen-walls, can be divided into two phases based on the building's layout and overlapping architectural features. The initial structure within the complex had a unique configuration, with a large room at the front directly connected to a smaller room at the back, situated centrally within the walled area. Unlike traditional

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Zherdiev, V. "The First Church of Russian Emigration in Berlin: The Fate of the Masterpiece." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (2021): 95–100. http://dx.doi.org/10.33625/visnik2021.01.095.

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This article dwells upon the tragic history of the architecturally unique Russian Community House with a church. It was built by the design of an architect Nikolai Vasilyev (1875–1958). The presentation of the material in the article begins with the history of the Orthodox embassy house churches in Berlin. Despite the long historical and matrimonial ties between Russian and Prussian Reigning Royal Houses, there was no separate capital Orthodox church edifice in Berlin. The rector of the embassy church A. Maltsev advocated the construction of it, but the First World War interfered with the plan

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Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral." Resourceedings 2, no. 3 (2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.

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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern buil

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Kiuntsli, R., A. Stepaniuk, and I. Besaha. "HETEROCHRONY OF GAUDI'S ARCHITECTURE." Bulletin of Lviv National Environmental University. Series Architecture and Construction, no. 25 (December 23, 2024): 110–18. https://doi.org/10.31734/architecture2024.25.110.

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Today in the scientific literature there are active discussions about the architectural style of the Sagrada Familia Cathedral. Gaudi’s architecture is often referred to as organic or bionic. The presence of the bionic style in Gaudi’s architecture is supported by the fact that the Sagrada Familia has complex shapes, which are known today as helicoids, hyperboloids and hyperbolic paraboloids. Gaudi borrows these forms from nature and bases the construction of columns, vaults and other structural elements of the temple. However, the architectural image of the Sagrada Familia was also influenced

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Kuśnierz-Krupa, Dominika, Olena Remizova, Lidia Shevchenko, and Oksana Kravchuk. "THE INFLUENCE OF CULTURAL AND ARTISTIC TRADITIONS OF CHINA ON THE IMAGE OF A RELIGIOUS BUILDING." Spatial development, no. 6 (December 26, 2023): 63–70. http://dx.doi.org/10.32347/2786-7269.2023.6.63-70.

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The Buddhist temple complex of Dunhuang can be named as the oldest example of the transformation of architectural and artistic canons of foreign religions when they were transferred to the territory of China. The artistic canons of the sanctuaries, which originated in India, underwent more and more transformations as local architectural and artistic skills developed. The same can be said about the transformation of the image of an Islamic religious building in the case of mosques, for example, in Shaanxi province, which acquired the architectural and artistic image of a Chinese temple of the t

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Kaplūnaitė, Irma, Rytis Jonaitis, Vida Indrulėnaitė-Šimanauskienė, and Vitalija Veževičienė. "The earliest development of the Vilnius Franciscan Church and monastery area." Archaeologia Lituana 24 (January 15, 2025): 156–76. https://doi.org/10.15388/archlit.2024.25.6.

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When the German Town (a settlement of Catholic merchants and craftsmen) began to emerge in the western part of the present Old Town of Vilnius in the last decades of the 14th century, the Catholic community relocated to this area. St Nicholas Church was built here before 1387 and it was the first Catholic church in the Old Town, around which the German City was established. However, in addition to this house of worship, there was another in the Catholic part of the city – the Franciscan Church of the Assumption of the Blessed Virgin Maria and a monastery.This monastery is considered to be the

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Maré, Estelle A. "Creation and Re-Creation: the Origins and Preservation of the Shinto Shrines At Ise, Japan, and the Abbey Church of St. Michael At Hildesheim, Germany." Religion and Theology 11, no. 2 (2004): 161–80. http://dx.doi.org/10.1163/157430104x00078.

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AbstractIn this article Ise Jingu, Japan, and the church of St Michael, Germany, are juxtaposed. At first glance they do not seem to have much in common, except that they exist as a testimony to the intentions of the original builders who established their distinctive architectural traditions and, physically, both are recent reconstructions. The reasons for their reconstruction are different because, whereas the Ise precincts are renewed as it were in obedience to a sacred injunction at a place where war never occurred, the renewal of the Hildesheim church to its original design is predominant

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Pascu, Marioara, and Ileana Pătru-Stupariu. "The Assessment of the Authenticity and Conservation Status of Cultural Landscapes in Southern Transylvania (Romania)." Geographies 1, no. 1 (2021): 3–20. http://dx.doi.org/10.3390/geographies1010002.

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The vernacular architectural style is on the verge of disappearing in Transylvania because of the depopulation of the Saxon villages of German origin as a result of massive migration to Germany. The nomination of Hărman cultural property on the UNESCO list is part of an international legal framework, and the Convention on the Vernacular Architectural Heritage protects this architectonic style because it represents the expression of a community’s culture, as well as its relations with the territory and cultural diversity. The proposed area includes a 63.47 ha perimeter of the historic centre of

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Eldal, Jens Christian. "Ny arkitektur for nordmenn i Iowa. Arkitekt C.H. Griese, Luther College og kirker i 1860-årene." Nordlit, no. 36 (December 10, 2015): 31. http://dx.doi.org/10.7557/13.3696.

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<p>The Norwegian Evangelical-Lutheran Church in America decided in 1861 to build their first college close to the western frontier of The Upper Midwest. The site chosen was a bluff above Upper Iowa River, highly visible from Decorah, a small town founded only 12 years earlier, few years after the first settlers arrived. The college building became a relatively vast structure erected between 1862 and 1865, completed to its originally planned symmetrical composition in 1874. The building style and its composition were common among American colleges and universities further east in the US.

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Niewöhner, Philipp. "„Byzantinisch“ oder „germanisch“? Zur Ambivalenz wilhelminischer Mosaiken am Beispiel der Erlöserkirche in Bad Homburg." Byzantinische Zeitschrift 113, no. 3 (2020): 905–22. http://dx.doi.org/10.1515/bz-2020-0039.

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AbstractThe Erlöserkirche at Bad Homburg was built between 1903 and 1908 at the instigation of Kaiser Wilhelm II. It combines a neo-Romanesque exterior with Norman-Sicilian mosaics inside. Both were „Germanic“ to the emperor, and the church embodied his all encompassing claim to the tradition of the medieval Holy Roman Empire of the German Nation. Alternatively, the contemporary Byzantinist Ernst Gerland pointed to a Byzantine origin of the Norman-Sicilian models (and thus subtly contradicted the „pan-Germanic“ myth). This „Byzantine“ reading has prevailed ever since, but does not stand up to

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Davenport, Nancy. "Pater Desiderius Lenz at Beuron: History, Egyptology, and Modernism in Nineteenth-Century German Monastic Art." Religion and the Arts 13, no. 1 (2009): 14–80. http://dx.doi.org/10.1163/156852908x388359.

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AbstractThe text is an introduction to the art made by a Benedictine community of artist/monks in the village of Beuron in the state of Hohenzollern-Sigmaringen in southwestern Germany in the late nineteenth and early twentieth centuries. The founder of the school, Pater Desiderius Lenz, studied art in Munich, received a scholarship to work in Rome, but discovered the source for his work in the flat two-dimensional colored drawings and prints of Egyptian art in albums published by the German archaeologist, Richard Lepsius. The iconic and non-empathetic style of Beuron art inspired by Lenz's id

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Suvac, Sergiu. "Historical-ethnographic elements of the Church “The Nativity of the Mother of God” in Brănești, Orhei District." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 32 (December 2022): 125–29. http://dx.doi.org/10.52603/rec.2022.32.15.

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The Church of the Nativity of the Mother of God in Brănești, Orhei district, built between 1911–1928, is located not far from the center of the village. There is a cemetery around it, where very old Moldovan families can be found, but also a place where Germans were buried after a bloody battle during the Second World War. The church is built of stone extracted from the limestone mines on the outskirts of the village. It represents a Russian architectural style, combined with traditional Moldovan motifs and ornaments. The axial-longitudinal plan of the church is composed of three parts: the sq

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Sokół, Teresa. "Protestanci w regionie kaliskim w XVI-XVIII wieku i ich budownictwo kościelne. Zarys problematyki." Zeszyty Kaliskiego Towarzystwa Przyjaciół Nauk 21 (December 31, 2021): 194–222. http://dx.doi.org/10.4467/26578646zknt.21.009.17593.

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Protestants in the Region of Kalisz from 16th to 18th Century and Their Sacral Architecture: an Outline The aim of this study is to offer a brief outline of protestant sacral architecture in the region of Kalisz, comprised of historic counties of Kalisz, Pyzdry and Konin from the 16th to 18th Century. Author tries to trace foundations of new parish churches for the United Brotherhood and lutheran communities. The general research question posed in this study targets different typologies of protestant church architecture in the region, including analysis of architecture and arrangements of inte

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Bakus, Grigoriy. "Gothic Сathedrals in the Fire of the World War: Monuments of Medieval Architecture in the Visual Historical Evidence of the 20th Century". ISTORIYA 14, № 7 (129) (2023): 0. http://dx.doi.org/10.18254/s207987840026931-3.

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“Rotterdam durch deutsche bomben vernichtet” — this inscription in German Language was written on snapshot with most prominent Gothic-styled Church of the city. The nearest area was destroyed completely and only ruins there were everywhere. Today this card, an amateur photo, is a piece of historical evidence both in the fields of longue durée terms of existence for medieval monuments in traditional cityscapes and local societies, which had living there. During the periods of the First and the Second World Wars were made the arrays of images of the same sort with monuments of medieval culture —

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Li, Shuan, Peng Chang та Yulia Ivashko. "Збереження і музеєфікація історичних об'єктів в Китаї / Protection and Museuming of Chinese Historical Objects". VITA ANTIQUA 11 (20 грудня 2019): 200–204. https://doi.org/10.37098/VA-2019-11-200-204.

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The article raises the problem of museuming objects of European heritage of North (German) National Romanticism in China. The example of the former Governor's residence, and later the China’s Government House of Guest, shows how the historic site has been transformed into a monument of national importance and at the same time a museum object. The specifics of the preservation of historical sites in Qingdao are characterized. In Art Nouveau in China the international tendencies of European Art Nouveau interlaced with traditional Chinese architecture and gave the birth to the original

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Sparitis, Ojars. "“Eternal Battle” with Compromises and Constraints: Revitalisation of Medieval Architecture." Landscape architecture and art, no. 20 (November 10, 2022): 37–42. http://dx.doi.org/10.22616/j.landarchart.2022.20.04.

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In the interests of the Catholic Church and German merchants, from the 13th to the 14th century, the territories of the present-day Latvia and Estonia, then called Livonia, were Christianized with the methods of the Crusades and included in the international economic processes. The feudal states of the German Order and bishops were established to keep the lands of the conquered Baltic tribes in obedience. Their main task was to guarantee the security of the west-east trade routes and to develop the economy in their own interests. To protect their borders and roads, the German Order, bishops an

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Sisa, József. "Neo-Gothic Architecture and Restoration of Historic Buildings in Central Europe: Friedrich Schmidt and His School." Journal of the Society of Architectural Historians 61, no. 2 (2002): 170–87. http://dx.doi.org/10.2307/991838.

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Friedrich Schmidt, the foremost Gothicist of Austria, exerted seminal influence in central Europe through his activities as architect, restorer of historic buildings, and professor at the Vienna Academy of Fine Arts. His unorthodox teaching methods included personal tuition near the drawing board and study trips to examine medieval buildings, attended by students of different ethnic, religious, and cultural backgrounds from all corners of the monarchy and even beyond. The students' school society, called Wiener Bauhütte, or Vienna Building Lodge, published their drawings in albums under the sa

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Salvione, Marie-Dina. "Conversion of the Church of Sainte-Germaine-Cousin Reaching out to the Community." Reuse, Renovation and Restoration, no. 52 (2015): 34–39. http://dx.doi.org/10.52200/52.a.hgvhzbwh.

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This essay synthesizes a serious concern related to built ecclisiastical heritage in Quebec. Most of all, it intends to present the recent conversion of the church of Sainte-Germaine-Cousin in Montreal, built between 1960 and 1962 by architect Gérard Notebaert into a community center related to social housing and child care. Today, after a decade and as the project is nearly complete, it recounts a modern heritage tale that led to an exceptional outcome from social and cultural perspectives and, of course, from an architectural angle. On a larger scale, this project responded sensitively to fu

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Hopping, Joshua S., and Yusak Tanasyah. "IMPACT OF ERASMUS, MARTIN LUTHER, AND MICHELANGELO AS CULTURAL CHANGE AGENTS DURING THE RENAISSANCE PERIOD." MAHABBAH: Journal of Religion and Education 4, no. 1 (2023): 19–32. https://doi.org/10.47135/mahabbah.v4i1.78.

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This study discusses three cultural change agents: Erasmus, Martin Luther, and Michelangelo. Each of these figures played a significant role in shaping the cultural landscape of their time, and their influence can still be felt today. Erasmus was a Dutch Renaissance humanist who promoted a return to classical learning and scholarship. His writings, which were critical of the established church, helped pave the way for the Protestant Reformation. Erasmus also advocated for the use of the vernacular in religious texts, making them more accessible to ordinary people. Martin Luther was a German th

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Dobrynchuk, Olha O., and Tetiana V. Kalyniuk. "ASPEKTE DER HERAUSBILDUNG DES NEUHOCHDEUTSCHEN IM 18. JAHRHUNDERT (AM BEISPIEL DES STADTPLANS KAMJANEZ-PODILSKYJ (1726) VON GABRIEL BODENEHR)." Alfred Nobel University Journal of Philology 1, no. 27 (2024): 177–89. http://dx.doi.org/10.32342/2523-4463-2024-1-27-12.

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The research examines the peculiarities of the formation of the German language in the New High German period using the example of the plan of the Ukrainian city in Podil – Kamianets-Podilskyi. This document was created in 1726 in the city of Augsburg (northern Germany) by the famous German engraver and cartographer Gabriel Bodenehr. The work aims to study the process of the formation of the New High German language at its early stage in historical, cultural, regional and linguistic contexts; to illustrate them on the example of the text of the explication of the city plan. The task of this re

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Gnatiuk, Liliia. "TRENDS OF FORMATION OF SACRED SPACE IN THE TWENTIETH CENTURY." Urban development and spatial planning, no. 76 (March 1, 2021): 49–62. http://dx.doi.org/10.32347/2076-815x.2021.76.49-62.

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The article analyzes the iconic temples of the twentieth century. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated by different types of spiritual forces, due to the forms of objects of the visible world can be strengthened or weakened. An understanding of the harmony of forms in the formation of sacred space is presented. The architecture of the sacred constructions erected on the principle of organic architecture is considered. The influence of German Expressionist architects on the formation of the temple architecture they created,

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Ștefania Urdaş, Florica. "Biserica fortificată din Hosman, județul Sibiu." Hiperboreea A1, no. 11 (2012): 15–19. http://dx.doi.org/10.5325/hiperboreea.1.11.0015.

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Abstract Hosman, in Saxon dialect - Hultsmänjen, Hultsmońen-and German-Holzmengen-belongs Nocrich common, Sibiu is located 8 km from Nocrich, 24 km from Sibiu and 36 Agnita city. In old documents the settlement is called when Holzmenia (1319) when Holzmengen (1479) names that could come from Holz = wood, charcoal = lots, is lots of wood. The fortress was built in the foothills and surrounding Romanesque church surrounded around the year 1270. At first it had three ships, an apse of the altar and belfry with five levels. Late Romanesque portal is similar to those in Avrig decoration, jerky, all

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Schmitt, Reinhold, and Anna Petrova. "„Demonstrative“ und „partizipative“ Ritualität: Totensonntagserinnern in einem deutschen und einem russischen Gottesdienst." Kulturwissenschaftliche Zeitschrift 2, no. 1 (2017): 38–75. http://dx.doi.org/10.2478/kwg-2017-0003.

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Abstract This article explores how close one can come to a cultural-scientific perspective on the basis of a constitution-analytical methodology. We do this on the basis of a comparison of the celebration of Totensonntag in Zotzenbach (Southern Hesse) and Sarepta (Wolgograd). In both places, there are protestant churches that perform this ritual to commemorate the dead on this “Sunday of the Dead” as a part of their church service. Our scientific interest lies in the reconstruction of the rituality produced during the in situ execution. In both services, the names of the deceased are read out

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