Relevant bibliographies by topics / Crèches (Nativity scenes) in art

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  2. Dissertations / Theses
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Academic literature on the topic 'Crèches (Nativity scenes) in art'

Author: Grafiati
Published: 26 February 2023
Last updated: 19 July 2025

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Journal articles on the topic "Crèches (Nativity scenes) in art"

1

Veress, Ferenc. "Following the Star : Nativity Scenes and Sacred Drama from the Middle Ages to the Baroque." Uránia 1, no. 1 (2021): 58–77. http://dx.doi.org/10.56044/ua.2021.1.4.eng.

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This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculpt
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Dasdemir, Derya, and Simge Özer Pınarbaşı. "Sacred Candle And Candlelight Scenes in Western Medieval And Early Renaissance Art." Palmet Dergisi, no. 7 (March 29, 2025): 79–83. https://doi.org/10.62425/palmet.1643502.

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This study critically examines the formal and semantic contexts of scenes depicting both illuminated and extinguished candles in Western art. Within the repertoire of religious imagery, candlelight functions as a symbol of the divine presence, representing the eye of God, while Christ is identified as the lux mundi (light of the universe). The iconographic themes associated with these periods encompass significant scenes such as the Nativity, the Birth of the Virgin Mary, the Annunciation, the Pietà, the Adoration of the Shepherds, and the Death of the Virgin. Moreover, the candle assumes symb
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3

Krom, Maria Johanna. "A ilustração do mundo." Episteme – Filosofia e História das Ciências em Revista 10, no. 21 (2005): 249–58. https://doi.org/10.5281/zenodo.6551170.

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<strong>RESUMO: </strong>Para os crist&atilde;os, o Pres&eacute;pio &eacute; uma das imagens mais poderosas e simb&oacute;licas da sua f&eacute;, enquanto representa&ccedil;&atilde;o do nascimento de Jesus Cristo. Atrav&eacute;s dos s&eacute;culos o tema da Natividade tem inspirado artistas e artes&atilde;os de todas as idades e camadas sociais no mundo inteiro. &Eacute; gra&ccedil;as a essa inspira&ccedil;&atilde;o que podemos desfrutar lindos poemas, pinturas, m&uacute;sica e esculturas. Algumas das representa&ccedil;&otilde;es art&iacute;sticas &mdash; artesanais da Natividade s&atilde;o no
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Giuseppe, Iovinella. "Sul teatro di figura, tra Čechov e Eduardo." Aura 4, no. 2 (2023): 68–80. https://doi.org/10.5281/zenodo.8042149.

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The essay is a comparison between the works of playwrighters Anton Pavlovič Čechov and Eduardo De Filippo. Purpose of the research is to analyze the function of the objects in <em>The Cherry Orchard </em>and <em>Christmas</em> <em>at the Cupiello</em>&rsquo;<em>s</em>. Part of the essay is focused on narrative methods and techniques, but, most of all, it is centered on figures like masks, shadows and items on the scenes. The first part introduces the function of the objects through times, the <em>agnitio</em> in Plauto and Terenzio&rsquo;s comedies, the evolution of the mask from the art of co
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Чернецов, А. В. "THE DOORS OF THE SUZDAL CATHEDRAL. ICONOGRAPHIC PARALLELS." Краткие сообщения Института археологии (КСИА), no. 271 (October 3, 2023): 341–63. http://dx.doi.org/10.25681/iaras.0130-2620.271.341-363.

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Золоченые двери собора Рождества Богородицы в Суздале – эталонный памятник древнерусского художественного ремесла. Объектом сопоставлений для западных дверей собора являются Новгородские двери 1336 г., созданные для собора Св. Софии. Стилистика последних свидетельствует об упадке традиций художественного ремесла и снижении требований элиты общества к его продукции. Подобная трансформация явилась следствием монгольского нашествия и ордынского ига. Основные композиции на дверях XVI в. отличаются от сюжетов Суздальских дверей; в некоторых случаях их тематика совпадает. Трактовка эпизодов на дверя
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Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.

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The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutiona
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7

Самойлова, Татьяна Евгеньевна. "The Cycle «Credo» in the Frescoes Decoration of the Archangel Cathedral of Moscow Kremlin." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 24–56. http://dx.doi.org/10.31802/2658-5111-2020-1-2-24-56.

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Цикл «Символ веры» в росписи Архангельского собора является самым ранним сохранившимся примером разработки данной темы в русском искусстве. Фрески Архангельского собора датируются 1652-1666 гг., но известно, что они повторяют иконографическую программу первой росписи собора, которая была создана в царствование Ивана Грозного (1564-1565). В свою очередь, очевидно, образцом для цикла «Символ веры» в декорации XVI в. послужила не дошедшая до нашего времени икона «Символ веры», написанная для Благовещенского собора Кремля в 1547 г. Каждая композиция «Символа веры» в росписи Архангельского собора и
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Plamen, Sabev. "ЙЕРУСАЛИМИЯ ОТ ЦЪРКВАТА "СВ. ГЕОРГИ" В АРБАНАСИ/ A JERUSALEM ICON FROM THE CHURCH OF ST. GEORGE IN ARBANASY". EPOHI [EPOCHS] Edition of the Department of History of "St. Cyril and St. Methodius" University of Veliko Tarnovo Issue 2, XXIII, 2015 (2022): 419–27. https://doi.org/10.5281/zenodo.6590928.

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In 2011, I came across a Jerusalem type of icon in the chapel of the &ldquo;St.&nbsp; Demetrius&rdquo; church in Arbanasy.&nbsp; Due to the long-term exposure to humidity and dust, it needed an urgent restoration and conservation. However, in the museum data it was signed that the place of origin of the icon was the church of St. George in Arbanasy. After a research over older photographic documents, I&rsquo;ve found that the icon was hang on the wall of the nave of this church, and eventually, due to the church&rsquo;s closure for restoration, it was moved in the chapel of St. Demetrius churc
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Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.

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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis
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Pencheva, Zhana. "The Torture of Sinners in The Monumental Painting of Southwestern Bulgaria." Visual Studies 4, no. 2 (2020). http://dx.doi.org/10.54664/uwdv2716.

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The article deals with the scenes of “Torture of Sinners” in Blagoevgrad churches: “St. Elijah” in the village of Selishte, “St. Dimitar” in the village of Palat, “Nativity of the Virgin Mary” in the village of Velyushtets and “St. St. Constantine and Helena” in the village of Krustiltsi. These temples were painted by the later representatives of the Bansko Art School Mihalko Golev and Dimitar Sirleshtov and their assistants in the last decades of the XIX and the first decade of the XX century. The analysis reveals a peculiar panorama of human sins and punishments that reflect both the develop
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Dissertations / Theses on the topic "Crèches (Nativity scenes) in art"

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Montlló, Bolart Jordi. "La Fira de Santa Llúcia de Barcelona: La primera fira de pessebres documentada (1786 – 2012)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/430847.

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La Fira de Santa Llúcia de Barcelona, dedicada a figures de pessebre, casetes i altres objectes destinats a les festes de Nadal, està documentada des de 1786, pel Baró de Maldà, tot i que en aquell moment ja era una celebració molt popular. Per satisfer els objectius proposats s’ha plantejat una metodologia etnohistòrica i s’ha tractat l’estudi de la festa, el parentiu, la transmissió hereditària, la xarxa de relacions socials i la relació dels poders municipals amb el grup de firaires, o l’antropologia de l’espai. Les principals fonts de consulta documental són les fonts primàries, tant hi
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St-Martin, Jonas. "Le Musée de l'Oratoire Saint-Joseph du Mont-Royal : un outil d'évangélisation." Thèse, 2010. http://hdl.handle.net/1866/5414.

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Dès les débuts du christianisme, l’Église s’est servie de l’art. Au Moyen âge, en particulier, la décoration des cathédrales (sculptures, fresques vitraux) avait une valeur esthétique, mais plus encore, une valeur didactique. Moyens matériels pour faire la catéchèse, voire évangéliser, les crèches du Musée de l’Oratoire Saint-Joseph du Mont-Royal s’inscrivent dans cette perspective. Tenant compte de cette mission d’évangélisation qui incombe à l’Église et de l’importance que prend de plus en plus le visuel dans la culture et la société actuelles, nous voulons partir de l’exposition des crèch
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Books on the topic "Crèches (Nativity scenes) in art"

1

Wood, Jeremy. The Nativity. Scala Books, 1992.

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2

Kochka, Al. The Holy family through the ages: A 500 year survey of the creche concept : Amarillo Art Center, December 6, 1986-January 11, 1987. The Center, 1986.

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3

Vaclík, Vladimír. České betlémy. Integra, 1994.

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Vaclík, Vladimír. Encyklopedie betlémů. Oftis, 1999.

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Vaclík, Vladimir. Lidové betlémy v Čechách a na Moravé. Vyšehrad, 1987.

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6

Ruipérez, Fundación Germán Sánchez, ed. Oro, incienso y mirra: Los Belenes en España. Fundación Germán Sánchez Ruipérez, 2000.

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7

Delesty, Françoise. Trésors des crèches et santons de Provence. Études & Communication, 2009.

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8

Venier, Magdalena. 19 Krippen aus Vorarlberg: Eine neue Sammlung für das Landesmuseum. Tyrolia-Verlag, 2021.

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9

Teodoro, Fittipaldi, Gaeta Giuseppe, Pons Salabelle Ugo, Italy. Soprintendenza ai beni artistici e storici di Napoli., and Museo nazionale di San Martino., eds. Il Presepe Cuciniello. Electa, 1990.

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10

Mira, Letizia Arbeteta. Oro, incienso y mirra: Los Belenes en España. Fundación Germán Sánchez Ruipérez, 2000.

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Book chapters on the topic "Crèches (Nativity scenes) in art"

1

Gameson, Richard. "Visual Language: Setting the Scene." In The Role of Art in the Late Anglo-Saxon Church. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198205418.003.0004.

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Abstract On a small Anglo-Saxon boxwood casket, probably of mid-eleventh-century date, which is now in Cleveland, Ohio, are carved scenes of the Nativity, the Baptism of Christ, the Entry into Jerusalem, the Crucifixion, the Ascension, and Christ en throned in a mandorla, attended by four angels. Nowhere on the object is there a text or an inscription. As the scenes depict key events from the life of Christ, it might be said that the relevant biblical texts are ‘presumed ‘; and clearly the depictions cannot be dissociated from the context of contemporary familiarity with, and thought about, the events in question. Nevertheless no words are actually present, and it is clear that the carver of this Christological cycle was guided less by ‘presumed ‘ texts than by visual models. Most of the scenes relate to, and draw on, familiar iconographies, and the point is underlined by the one that does not-the Baptism of Christ. Here, in contrast to the biblical accounts and to most depictions of the scene,3 Christ stands not in a stylized River Jordan, but in a large vessel. The vessel is flanked by two figures, one holding up a book, the other ladling water on to Christ.
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