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Dissertations / Theses on the topic 'Crucifixion in art'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology
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2

Horvath, Jennifer. "Resistance, Resurrection, Liberation: Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427980680.

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3

Anderson, Keith Edward. "An investigation of the theological questions raised by twentieth-century works of art which make use of the iconography of the crucifixion." Thesis, Oxford Brookes University, 2014. https://radar.brookes.ac.uk/radar/items/8e78f44e-8d37-4f6a-a078-75318d1b3a4a/1.

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This research developed from an observation that the iconography of the crucifixion was being used by artists in the twentieth century for purposes beyond its usage in earlier centuries. As an active member of a Christian Community this appeared to have implications for a Christian understanding of the theological significance of the crucifixion of Jesus and also its significance in the wider culture of twentieth century Britain. The foundation of this thesis is a Scholarly Edition of sixty works of art, produced from 1913 to 2000, by artists based in Great Britain. They are united by a common
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4

Rehlinger, Geneviève. "Jésus le Christ dans l'oeuvre de Marc Chagall : le motif du crucifié." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Schmitt_Rehlinger.Genevieve.LMZ0607_1_2.pdf.

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Pour déterminer la place de Jésus le Christ dans l'oeuvre de Chagall, nous nous appuyons sur un corpus de 365 œuvres comportant le Motif du Crucifié ainsi que différents documents littéraires (lettres, biographie, poèmes). Notre approche plurielle touche aux domaines de l'histoire de l'art, de la théologie et de l'histoire du judaïsme ( en particulier de la Shoah) et du christianisme, ainsi que de l'exégèse biblique. Une première partie recense les lectures critiques et interprétatives des monographes concernant le motif chez le peintre ; lectures influencées par l'appartenance culturelle et r
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5

Walker, Ashely Wilemon. "The Thirteenth-Century Fresco Decoration of Santa Maria Ad Cryptas in Fossa, Italy." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/52.

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This paper discusses the fresco decoration of Santa Maria ad Cryptas. The frescoes are described and analyzed, and then compared to similar programs in order to determine which features are based on earlier sources, and which are unusual or unique to this particular church. The traditional features are found to reflect a long-established pattern of church decoration reflected in such monuments as Old Saint Peter’s, Sant’Angelo in Formis, the Cathedral of Monreale, and the Cappella Palatina. The unusual features (including the placement of the Passion cycle in the presbytery, and the location o
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6

Smith, Tamytha Cameron. "Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.

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This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, sup
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7

Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
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8

Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.

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9

Balicka-Witakowska, Ewa. "La crucifixion sans crucifié dans l'art éthiopien : recherches sur la survie de l'iconographie chrétienne de l'Antiquité tardive /." Warszawa ; Wiesbaden : ZAŚ PAN, 1997. http://catalogue.bnf.fr/ark:/12148/cb39219741v.

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10

Ewin, Kristan Foust. "The Argei: Sex, War, and Crucifixion in Rome and the Ancient Near East." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115076/.

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The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. in addition to an agricult
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11

Foust, Kristan Ewin. "Exposing the Spectacular Body: The Wheel, Hanging, Impaling, Placarding, and Crucifixion in the Ancient World." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062805/.

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This dissertation brings the Ancient Near Eastern practice of the wheel, hanging, impaling, placarding, and crucifixion (WHIPC) into the scholarship of crucifixion, which has been too dominated by the Greek and Roman practice. WHIPC can be defined as the exposure of a body via affixing, by any means, to a structure, wooden or otherwise, for public display (Chapter 2). Linguistic analysis of relevant sources in several languages (including Egyptian hieroglyphics, Sumerian, Hebrew, Hittite, Old Persian, all phases of ancient Greek, and Latin) shows that because of imprecise terminology, any real
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12

Fazio, Giuseppe. ""lo travo di lo crucifixo". L'esposizione e l'uso della croce negli edifici di culto siciliani fra il Regnum Normanno e il Concilio di Trento (1149-1555)." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3423918.

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In 1992 the publication of a book on the crosses painted in Sicily highlighted an aspect of artistic production from that island thirteenth century until the mid-sixteenth century had kept the art workshops engaged in the incessant work to meet the needs of liturgical worship and cathedrals, monasteries and parish, can not exist in fact a Christian church without its icons of the cross. From the text, which begins however previous studies mainly by Maria Grazia Paolini, who already in 1959 had identified the peculiarities of the Sicilian production of painted crosses, it is clear that while t
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13

Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems / Felicity Harley." Thesis, 2001. http://hdl.handle.net/2440/21742.

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Bibliography: leaves 289-313.<br>v, 316 leaves., 17 p. of plates : ill. (some col.) ; 30 cm.<br>A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of th
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14

Béland, Caroline. "Les représentations chrétiennes et la culture juive dans l'art pictural moderne : le cas de Marc Chagall." Thèse, 2011. http://hdl.handle.net/1866/5267.

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Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvell
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15

Trojanová, Martina. "Kříž zv. královny Dagmar." Doctoral thesis, 2021. http://www.nusl.cz/ntk/nusl-447989.

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At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enko
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