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Journal articles on the topic 'Emperors in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Snežana, Filipova. "Notes About the Commemoration of the Powerful Menin the Medieval Art in Macedonia." European Journal of Interdisciplinary Studies 2, no. 1 (2016): 68. http://dx.doi.org/10.26417/ejis.v2i1.p68-73.

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Rulers’ portraits as symbols of the institution of monarchy were used on coins, legal acts and seals, as a guarantee of authenticity and legal effectiveness. They are usually the highest category of propaganda images. Each civilization has the praxis of representing to a certain extent real or “beatified” image or portrait of the emperor. By adding various symbols of power, like crowns, caps, beard, throne, supendium, chariot, and number of the animals driving it, we are directly observing the image of the most powerful representatives of people, nations, states, empires, era, usually blessed

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Snežana, Filipova. "Notes About the Commemoration of the Powerful Menin the Medieval Art in Macedonia." European Journal of Interdisciplinary Studies 4, no. 1 (2016): 68. http://dx.doi.org/10.26417/ejis.v4i1.p68-73.

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Rulers’ portraits as symbols of the institution of monarchy were used on coins, legal acts and seals, as a guarantee of authenticity and legal effectiveness. They are usually the highest category of propaganda images. Each civilization has the praxis of representing to a certain extent real or “beatified” image or portrait of the emperor. By adding various symbols of power, like crowns, caps, beard, throne, supendium, chariot, and number of the animals driving it, we are directly observing the image of the most powerful representatives of people, nations, states, empires, era, usually blessed

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3

Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.

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Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored th

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Konopatkin, Vladislav A. "The Image of Victory and Representation of the Power of Roman Emperors in the 5th Century." Herald of Omsk University Series Historical Studies 11, no. 4 (44) (2024): 7. https://doi.org/10.24147/2312-1300.2024.11(4).7-12.

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The Roman emperor was traditionally presented as the victor. In this regard, he was always accompanied by the image of Victoria. However, in the fifth century, the role of the emperors underwent a transformation, acquiring a more secular and ecclesiastical character. Augustus, for instance, no longer resided at the location of the army, with the command being assumed by the magistri militum. Instead, the emperor only appeared in the capital as a pious monarch, devoting his time to prayer. Nevertheless, in popular art produced outside the capital cities, Augustus was depicted as the eternal vic

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Anagnostou Laoutides, Eva. "Miracles of Technology and Art: Ancient Religious Aesthetics and Byzantine Iconoclasm." De Medio Aevo 13, no. 2 (2024): 365–93. http://dx.doi.org/10.5209/dmae.97637.

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This article explores the role of technology in arousing religious awe from classical antiquity to the time of Emperor Theophilos. People’s fascination with technology ensured that this trend, increasingly popular in Greco-Roman religious festivals from the Hellenistic period onwards, gained pace among Christians after an initial period of rejecting pagan religious aesthetics. Technology was highly prised by both pagan and Christian rulers who typically sought to impress their subjects by displaying the technology available at their disposal. However, while the emperors’ reliance on technology

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Mishra, Om Prakash, and Neha Tyagi. "An Analytic Study of Mughal Emperors and Their Achievements." Journal Global Values XV, no. 1 (2024): 84–91. https://doi.org/10.31995/jgv.2024.v15i01.011.

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The Mughal Empire, spanning from the early 16th to the mid-19th century, stands as one of the most influential and culturally rich periods in the history of South Asia. At its Zenith, the Mughal Empire encompassed vast territories, from present-day Afghanistan to Bangladesh, and its emperors presided over a flourishing civilization marked by remarkable achievements in art, architecture, literature, and governance. Central to this cultural renaissance was the patronage of the arts by Mughal emperors, whose enlightened rule fostered an environment conducive to artistic creativity and innovation.

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Smirnova, Ekaterina. "Roman Emperors in Dostoevsky’s Calligraphic Notes to The Idiot." Неизвестный Достоевский 7, no. 4 (2020): 177–207. http://dx.doi.org/10.15393/j10.art.2020.4994.

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The article focuses on clarifying the role of names of Roman emperors in Dostoevsky’s calligraphic records in his notebooks of the late 1860s (Russian State Archive of Literature and Art. Funds 212.1.6 and 212.1.7). One of the reasons for Fedor Dostoevsky’s invocation of images and themes from Roman history was the idea characteristic of the educated class of the mid-19th century, namely, that the history of Rome is a model of virtues and example of vices and atrocities, and is therefore essential to everyone who is not indifferent to the fate of humankind. Since the writer’s creative reflecti

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Karev, Andrey А. "Archival notes on fine art." Rossijskaâ istoriâ, no. 5 (December 29, 2024): 201–5. https://doi.org/10.31857/s2949124x24050145.

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The book was written by M.V. Sidorova, an experienced archival curator, researcher and curator of exhibitions of exhibits from the funds of the State Archive of the Russian Federation. Based on these materials on a thematic basis, the monograph includes chapters on the life and work of emperors and members of the royal family, on gendarmes, as well as on fine art at the imperial court of the 19th century. The review focuses on the assessment of the pictorial materials presented in the third chapter and their role in the activities and lives of representatives of the imperial family.

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ZAKHAROVA, Oksana. "Art in the diplomacy of the XIX century. Emperors – diplomats." Humanities science current issues 1, no. 44 (2021): 79–83. http://dx.doi.org/10.24919/2308-4863/44-1-11.

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Surayeva, N. G. "FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA." Arts education and science 1, no. 3 (2021): 83–93. http://dx.doi.org/10.36871/hon.202103011.

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Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading rep

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Powers, Martin. "NEW EXHIBITION EXAMINES THE SOCIAL LIFE OF BRONZES THROUGH THE CENTURIES." Early China 41 (2018): 453–56. http://dx.doi.org/10.1017/eac.2018.6.

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AbstractThis is a short review of the “Mirroring China's Past” exhibition at the Art Institute of Chicago (February 25th–May 13th, 2018). For reference, the exhibition catalog is: Tao Wang 汪涛 et al. Mirroring China's Past: Emperors, Scholars, and Their Bronzes [吉金鑒古]. The Art Institute of Chicago, 2018. Distributed by Yale University Press, New Haven and London.

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Freudenburg, Kirk. "Recusatioas Political Theatre: Horace's Letter to Augustus." Journal of Roman Studies 104 (February 19, 2014): 105–32. http://dx.doi.org/10.1017/s007543581300124x.

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AbstractAmong the most potent devices that Roman emperors had at their disposal to disavow autocratic aims and to put on display the consensus of ruler and ruled was the artful refusal of exceptional powers, orrecusatio imperii. The practice had a long history in Rome prior to the reign of Augustus, but it was Augustus especially who, over the course of several decades, perfected therecusatioas a means of performing his hesitancy towards power. The poets of the Augustan period were similarly well practised in the art of refusal, writing dozens of poeticrecusationesthat purported to refuse offe

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Ma, Kexin. "In Pursuit of Temporal Illusion: the Reproduction and Imitation of Antiquities under the Yongzheng Emperor (r. 1723–35)." Ming Qing Yanjiu 28, no. 1 (2024): 53–87. http://dx.doi.org/10.1163/24684791-12340078.

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Abstract The practice of reproducing and imitating antiquities during the Qing period (1644–1911) has attracted the attention of many scholars, especially those specialised in Qing imperial art production, who have delved into such practice initiated particularly under the Kangxi (r. 1662–1722) and Qianlong (r. 1736–95) emperors. The Yongzheng reign (1723–35), however, appears relatively overlooked in the ongoing discussion. This article aims to fill this research gap by examining the reproduction and imitation of archaic ceramics under the Yongzheng emperor. Both two-dimensional pictures and

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Radke, Gary M. "Nuns and Their Art: The Case of San Zaccaria in Renaissance Venice*." Renaissance Quarterly 54, no. 2 (2001): 430–59. http://dx.doi.org/10.2307/3176783.

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This article discusses the ways in which fifteenth-century nuns financed, shaped and used works of art and architecture at the Benedictine convent of San Zaccaria in Venice. Evidence from chronicles, account books, liturgical manuscripts, reports of visits to the convent, and inscriptions on the works of art themselves shows that the nuns viewed art within their convent extremely proprietarily. While they accepted subsidies from the civic government, indulgences from popes, privileges from Byzantine emperors, and donations from private patrons, the nuns paid close attention to the administrati

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Makhmudova, Aziza. "Historical museums of China." JOURNAL OF SCIENCE-INNOVATIVE RESEARCH IN UZBEKISTAN 2, no. 3 (2024): 512–14. https://doi.org/10.5281/zenodo.12506968.

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This article covers the history of China's historical museums and the history of their origin, many years of Customs and traditions. Most of the exhibits are high-quality items collected by Chinese emperors. The National Palace Museum began its history with the Palace Museum in the closed city of Beijing, whose large- scale works of art and artifacts were built on the imperial collections of the Min and Sin dynasties.

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Zhenya, Zhu, Liu Dongyu, Fauzi Naeim, and Mo Yunjie. "Exploring the Historical Characteristics of Stone Carving Art in Mausoleums of the Southern Dynasties." International Journal of Research and Innovation in Social Science IX, no. IV (2025): 2603–12. https://doi.org/10.47772/ijriss.2025.90400192.

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The stone carving art in mausoleums of the Southern Dynasties is an important part of the mausoleums of emperors and nobles, with distinct characteristics of the era and cultural value. Compared to the majestic and magnificent stone carving art in mausoleums of Northern Dynasties, the stone carving art in mausoleums of the Southern Dynasties more emphasis on formal beauty and symbolic significance, showcasing a dignified and elegant style of the era. Based on the analysis of the political, economic, and cultural background of the Southern Dynasties, this article explores the evolution of the f

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Corke-Webster, James. "Emperors, bishops, art and jurisprudence: the transformation of law in Eusebius of Caesarea." Early Medieval Europe 27, no. 1 (2019): 12–34. http://dx.doi.org/10.1111/emed.12312.

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So, Hyunsook. "The Empire of Needle and Thread: Imperial Authority and Embroidered Buddha Images in the Tang Dynasty." Korean Journal of Art History 316 (December 31, 2022): 107–33. http://dx.doi.org/10.31065/kjah.316.202212.004.

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This paper studies the function of embroidered Buddha images and how and why they were made during the Tang dynasty when embroidery emerged as a major medium for Buddhist art. More specifically, it focuses on how embroidered Buddha images were ordered to be produced and bestowed on by Tang emperors. As surviving embroidery works are rare, written documents and records provide valuable information for the study of this subject. The popularization of embroidered Buddha images in early Tang was headed by the imperial power. Emperor Taizong, and his successor Gaozong each bestowed a large embroide

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19

Noreña, Carlos F. "The Communication of the Emperor's Virtues." Journal of Roman Studies 91 (November 2001): 146–68. http://dx.doi.org/10.2307/3184774.

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The Roman emperor served a number of functions within the Roman state. The emperor's public image reflected this diversity. Triumphal processions and imposing state monuments such as Trajan's Column or the Arch of Septimius Severus celebrated the military exploits and martial glory of the emperor. Distributions of grain and coin, public buildings, and spectacle entertainments in the city of Rome all advertised the emperor's patronage of the urban plebs, while imperial rescripts posted in every corner of the Empire stood as so many witnesses to the emperor's conscientious administration of law

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Sahu, Bhairabi Prasad. "Aśokan edicts: The genesis of the imperial idea and culture in early India and the debt to Iran." Studies in People's History 5, no. 2 (2018): 143–53. http://dx.doi.org/10.1177/2348448918795739.

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The Mauryan Empire was preceded by the Achaemenian Empire, which in extent, and centralisation appears to have set a model for it. There is much on the surface to justify this thesis. Most remarkably there is the use of stone inscriptions for which the Achaemenid emperors, especially Darius and Xerxes, set a precedent. Stone and stone-cut art and architecture, not traceable in post-Indus India begin with Aśoka, and this too had Achaemenid precedents on a grand scale. This essay concedes the connection but argues that the contexts and contents of Aśokan inscriptions were essentially different f

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Nair, Vishak Ratheesh. "Retracing the Permanence of Buddhism during the Kushan Empire and its Influence on the Silk Road." International Journal of Science and Social Science Research 2, no. 4 (2025): 173–78. https://doi.org/10.5281/zenodo.14963750.

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The Kushan Empire (1st– mid 3rd century CE) had played a significant role in the development and consolidation of Buddhism, facilitating its spread over Central Asia and the Silk Road. The Empire had supported Buddhist institutions and encouraged the syncretic development of Buddhist literature, Art and Theology under emperors like Kanishka. This paper examines the resilience of Buddhism throughout the Kushan era and its extensive impact on the Silk Road. It explores the evolution of Mahayana Buddhism, the impact of Greco-Buddhist Art on religious iconography and the role of Buddhist mon

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Xiaojiao, Fu. "Musical Scholarship of the “Golden Age” of the Qing Dynasty Based on 17th and 18th Century Books and Treatises." Russian Musicology, no. 3 (2024): 101–8. http://dx.doi.org/10.56620/rm.2024.3.101-108.

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In 1772, by the order of the Emperor Qiánlóng, work began on the compilation and copying of the collection of classical Chinese works known as the Sìkù Quánshū, which included books on musical philosophy, aesthetics, drama, palace ceremonies, as well as treatises on European music theory written at that period of time in China. The detailed review of some of these works presented in the article is aimed at introducing new information about the content of music theory sources from the times of the reign of Kāngxī and Qiánlóng into the corpus of Russian musical scholarship. The authentic documen

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Condrea, Iraida. "Portraiture in a Cantemirian-Inspired Manuscript: Faces of the Turkish Emperors, 1710." Dialogica. Revistă de studii culturale și literatură, no. 3 (November 2023): 13–21. http://dx.doi.org/10.59295/dia.2023.3.02.

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Appreciated since his lifetime as a great connoisseur of the Ottoman Empire, Dimitrie Cantemir wrote several works on the history, art and customs of the Turks, referring to the reigns of several sultans. This theme also appears in a manuscript written in Romanian with Cyrillic characters, dated 1710, which contains the briefly described histories of 27 Turkish sultans, as well as their portraits. Since 1931, when it was discovered, and until now, several researchers have discussed the authorship of the text and its possible relationship with the work of Dimitrie Cantemir. In this article, the

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Smith, R. R. R. "Simulacra Gentium: the Ethne from the Sebasteion at Aphrodisias." Journal of Roman Studies 78 (November 1988): 50–77. http://dx.doi.org/10.2307/301450.

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Series of provinces and peoples were something new in Roman art. They were a distinctively Roman way of representing their empire visually, and reflect a distinctively Roman and imperial mode of thought. Such images are most familiar to us in sculpture from the reliefs that decorated the temple of Hadrian in Rome, and on coins from the ‘province’ series of Hadrian and Antoninus Pius. We know, however, from various written sources that extensive groups of personified peoples were made at Rome under Augustus. Recently, the discovery of such a series in relief at Aphrodisias, there called ethne (

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Smith, R. R. R. "The Imperial Reliefs from the Sebasteion at Aphrodisias." Journal of Roman Studies 77 (November 1987): 88–138. http://dx.doi.org/10.2307/300577.

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In 1979, during his continuing excavation of the city of Aphrodisias, Professor K. T. Erim discovered a large temple and sanctuary complex dedicated to Aphrodite and the Julio-Claudian emperors (theTheoi Sebastoi). It had a remarkable sculptural display of which much has survived—there are about eighty relief panels. The complex would probably have been called a Sebasteion: we know from an unrelated inscription that there was one at Aphrodisias. It is of great interest to both the historian and art-historian of the early empire, giving a rare combination of buildings, sculpture, and inscriptio

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Feinstein, Sandy. "The “Living Art” in The Honorable History of Friar Bacon and Friar Bungay." Ben Jonson Journal 23, no. 2 (2016): 268–89. http://dx.doi.org/10.3366/bjj.2016.0168.

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The popularity and fantastic productions of natural philosophy drive the The Honorable History of Friar Bacon and Friar Bungay. Those creating and responding to the special effects compete across boundaries of place, of cultures, and of courts. In the end, Friar Bacon's demonstrates his dominance and in so doing defines nationalist exceptionality while showcasing theatre as the ultimate alchemy displaying it. The play celebrates English performance, stage art that out-alchemies alchemy. Theatre, the play suggests, best celebrates and protects English interests. It can take on anyone and anythi

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Makhanko, Maria. "Veneration of the Holy Emperors and Empresses of Byzantium in Muscovite Rus’ According to the Attachments and Epigraphy of the Reliquaries of the 16th and 17th Centuries." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015766-1.

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Old Russian reliquaries of the 16th and the 17th centuries, i. e. the Late Medieval era of emerging autocracy, are valuable historical sources and masterpieces of art. The appearance of certain relics is associated with the external contacts of medieval states and churches, reflecting various aspects of spiritual life of the time. Among the attachments to reliquaries, either preserved up to now or known from written sources, parts of relics of saint Emperors and Empresses of the 4th to the 10th centuries Byzantium are of special interest. The article attempts to collect information about such

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Corke-Webster, James. "Roman History." Greece and Rome 69, no. 2 (2022): 327–44. http://dx.doi.org/10.1017/s0017383522000110.

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Another bumper edition, again by way of apology for absenteeism in the spring issue (though this time due to paternity rather than plague). We begin with the latest Beard blockbuster. In her Twelve Caesars, based on her 2011 A.W. Mellon Lectures in the Fine Arts, Mary Beard turns her trademark combination of penetrating gaze and jovial tongue to the reception of the famed group of elite first-century ce Roman men who span a key moment in the transformation of ancient politics. Belying their importance for ancient historians and archaeologists, they have been rather neglected by art historians

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Łaptaś, Magdalena. "Byzantine influence on Nubian painting: the loroi and the gender of the Archangels." Byzantinische Zeitschrift 114, no. 1 (2021): 239–54. http://dx.doi.org/10.1515/bz-2021-9011.

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Abstract The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia,

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ALaqeel, Munirah Ali Saleh. "Prophecies of Roman Rule in the Imperial Period (27 BCE–284 CE)." Journal of Posthumanism 5, no. 6 (2025): 3752–71. https://doi.org/10.63332/joph.v5i6.2536.

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This research examines the concept of prophecies and the art of divination in the Roman Empire from 27 BC to 284 AD, highlighting its role as a religious, cultural and political phenomenon. The research aims to analyze how emperors manipulated prophecies to enhance their political legitimacy and guide fateful decisions. In a descriptive-analytic analysis, sources of Roman literature and historiography are considered and analyzed in an attempt to understand the political and religious dimensions of prophecies. Additionally, the study employs comparative analysis to explore the cultural interact

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Xiaoqing, Ye. "Imperial Institutions and Drama in the Qing Court." European Journal of East Asian Studies 2, no. 2 (2003): 329–64. http://dx.doi.org/10.1163/15700615-00202008.

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This article is based on largely uninvestigated archival material in the First Historical Archives in Beijing. It addresses the following issues: (1) How and why an internal office, the Nanfu, which was responsible for drama performances inside the palace, expanded its functions to become a monitoring organisation, the Shengpingshu, which exercised censorship over all the drama groups in the capital. (2) How political events were reflected in drama performed on both public and private occasions, thus shedding light on the inner world of individual emperors. (3) How these institutional changes

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Fu, Xiaojiao. "MUSICAL ACTIVITY OF CHRISTIAN MISSIONARIES AT THE COURT OF THE QING EMPERORS OF THE 17TH–18TH CENTURIES." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (2023): 31–45. http://dx.doi.org/10.36340/2071-6818-2023-19-6-31-45.

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The article raises the problem of the significance of European missionaries’ musical activities at the court of the Qing emperors during the Golden Age and attempts to integrate Western art into palace musical life. A critical review of existing Russian-language sources leads the author to the conclusion that there is a lack of information on the topic of the article as well as some freedom in the interpretation of known historical facts in scientific articles. The author sees the possibility of filling gaps in this area of musicology in a detailed study of documents of the era, primarily diar

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Morimoto, Yoshiharu. "Approaches to Help Older Women in ART." Fertility & Reproduction 05, no. 04 (2023): 246. http://dx.doi.org/10.1142/s2661318223740602.

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Ancient Chinese emperors sent messengers to the whole country and explored an elixir of life. Determent of aging has been an ultimate hope for humans for a long period. In the modern era, aging become a hot topic to be solved according to longevity. Equality of both sexes in society contributed to the late marriage and start of making children. There happen adverse effects to being conceived in the aged ovaries. The quality and quantity become impaired by the ovarian aging process. In the artificial reproductive treatment, the obtained number of oocytes in ovarian hyperstimulation diminishes i

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Wetesko, Leszek. "Codices aurei: The ancient art of chrysography and the evolution of the early Christian manuscript tradition." Journal of the Australian Early Medieval Association 17, no. 2 (2021): 165–89. https://doi.org/10.35253/jaema.2021.2.4.

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The aim of this article is to demonstrate the proliferation of the oriental art of chrysography in the Mediterranean. 'Writing in gold' had become a sophisticated writing technique in this area, most frequently reserved for texts of the pagan sacrum or destined for the courts of kings and emperors. With the growth of Christianity, the deep association of chrysography with the artistic tradition of imperial Rome, opened the way to the inclusion of the art of writing in gold for texts of the Christian sacrum. Despite the critical stance of Jerome of Stridon and John Chrysostom, during the fourth

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Milinović, Dino. "Kasna antika: dekadencija ili „demokratizacija“ kulture?" Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 145–58. http://dx.doi.org/10.14746/pss.2019.17.10.

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In our age “without the emperor”, fascination with empires and with the emperor mystique continues. Take for witness Tolkien and his Return of the King, the third sequel of The Lord of the Rings, or the television serial Game of Thrones. In the background, of course, is the lingering memory of the decline and fall of the Roman Empire, “a revolution which is still felt by all nations of the world”, to quote Edward Gibbon. It comes as a surprise that in this dramatic moment of its history, in times marked by political, economic and spiritual crisis that shook the very foundations of the Empire d

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Xiaojiao, Fu. "Xia Bian, the Treatise on Musical Instrumentation of the Qing Era Palace Ceremonies during the 18th Century." Scientific and analytical journal Burganov House. The space of culture 20, no. 6 (2024): 86–101. https://doi.org/10.36340/2071-6818-2024-20-6-86-101.

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The author of the article aims to introduce a historical source of the early 18th century, Xia Bian, into scientific circulation of Russian musicology. It is the second volume of the great treatise of the Qing emperors, Yu Zhi Lü Lü Zheng Yi. Dedicated to the description of court musical instruments, Xia Bian, on the one hand, positions the Manchu rulers as strict followers of the previous dynasties and continuers of the Han traditions of court musical art. On the other hand, it clearly outlines a range of priorities limited to 13 instruments; moreover, it focuses on the physical characteristi

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Grünnagel, Christian. "La politique selon La Mort d’Agrippine de Cyrano de Bergerac : conspiration, athéisme et libertinage érudit sur scène." Romanica Wratislaviensia 67 (July 23, 2020): 107–19. http://dx.doi.org/10.19195/0557-2665.67.8.

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The present article examines the vision of politics, especially linked to religion, in the only known tragedy by French author Cyrano de Bergerac. Provoking a major scandal during its premiere due to several dialogues considered as atheist by contemporary authorities, this complex piece of dramatic art provides some insights into the political thought of a 17th-century philosophical (un-derground) tendency known as libertinage érudit. As I try to show, one of the major problems we face in the tragedy’s (political) interpretation is its overall composition, which Cyrano based on baroque princip

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Wu, Xiang. "Cultural Background of Carved Stone Sculpture of Ancient Chinese Mausoleums." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (2021): 45–52. http://dx.doi.org/10.36340/2071-6818-2021-17-2-45-52.

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The article explores the ideas, characteristic for religious mindset and philosophy of Confucianism (儒家思想), about spiritual immortality, filial piety and ethics, which have been firmly established in funerary culture. Harmonic balance of Confucianism, Daoism (道教) and Buddhism brought forth the ideology and concept of immortal soul, according to which the soul does not die after person’s death, and the tomb is its dwelling place. Thus, the construction of tombs gained great significance. The author analyzes Confucian idea of ‘filial piety’, which, merging with ritual funeral concept, developed

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Vlăsceanu, Mihaela. "Imperial Identity Seen Through Art. The Case of Maria Theresa – Considerations." Gender Studies 20, no. 1 (2021): 128–48. http://dx.doi.org/10.2478/genst-2022-0009.

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Abstract During the reign of Maria Theresa (1740-1780) a reassessment of the role women played in a closed society occurred. The main question this article aims to answer is how one can identify these changes by analysing images with high symbolic value, which celebrated and presented Maria Theresa in instances of official relevance, images produced in a period when nations were designing themselves. The present article seeks to underline some of the most representative ideas on how the monarchical identity of Maria Theresa was constructed in art to serve political and propagandistic functions

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Ярема, Ростислав. "Троице-Сергиев монастырь: вклады русских государей". Elpis 22 (2020): 79–86. http://dx.doi.org/10.15290/elpis.2020.22.09.

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This article reveals the contribution of the Kingdom to the Holy Trinity Sergius Lavra through the prism of personal relations between the Orthodox Church and the highest state authorities, and thus reveals the role of the Emperors and the Church in the history of Russian art, as well as in the preservation of Russian national culture and identity. Russian monarchs’ pilgrimage and contribution to the monastery of St. Sergius of Radonezh is considered an important factor in strengthening ties between the Russian Orthodox Church and the Monarchy, as well as the entire Russian society, supporting

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Kiełczewska, Aleksandra. "Monety z Apamei Kibotos. Najstarsza ikonografia Arki Noego." Vox Patrum 52, no. 1 (2008): 455–70. http://dx.doi.org/10.31743/vp.8874.

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Author of the article presents the series of six coins minted in ancient city of Apamea Kibotos in Phrygia during the reign of emperors Septimus Severus (193- 211), Macrinus (217-218), Alexander Severus (222-235), Gordian III (238-244), Philip the Arab (244-249) and Trebonius Gallus (251-253). The coins depict Noah’s Ark and were connected with Jewish community of the city. The article introduces a short history of Apamea and Jewish settlers in this region. The main part of the article presents the description of the scenes on the coins and tries to explain the circumstances of their appearanc

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LUKE, TREVOR S. "A Healing Touch for Empire: Vespasian's Wonders in Domitianic Rome." Greece and Rome 57, no. 1 (2010): 77–106. http://dx.doi.org/10.1017/s0017383509990295.

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Before Vespasian returned to Rome to take up the reins of imperial government, he reportedly had a vision in the Serapeum of Alexandria and, as the New Serapis, healed two men. These wonders came to define Vespasian's time in Egypt and yet, for modern readers, their prominence in the story of the emperor's rise to power creates an apparent inconsistency. The same man who on his deathbed joked about his impending divinization also apparently played the part of a god at the beginning of his reign. Such contradictions are to be expected in the colourful accounts of emperors' lives, but this parti

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Pervushin, Mikhail Viktorovich. "Two views on Olga of Kiev in the Ancient Rus’ hymnography." Litera, no. 10 (October 2020): 18–27. http://dx.doi.org/10.25136/2409-8698.2020.10.33861.

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This article is dedicated to analysis of the preserved liturgical written artifacts dedicated to the Saint Equiapostolic Grand Princess Olga. These hymnographic ancient manuscripts, in modern sense poetic art of composing ceremonial, laudatory and pious (liturgical) chants, allow tracing the perception of the act of holiness by several generations of Russian scribes who lived centuries after her, and how it is perceived by the contemporaries. These representations are revealed through analyzing the images of Saint Olga, her deeds, which were praised in one or another hymnographic work by the c

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Chowdury, Saeyd Rashed Hasan. "The Reflection of Sufi Influence on the Mughal Empire (1526-1857): A Spiritual and Cultural Analysis." Bilimname, no. 53 (April 30, 2025): 697–736. https://doi.org/10.28949/bilimname.1582161.

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This article examines the role of Mughal emperors in promoting Sufism and their contributions to the religious, social, and economic development of the Indian subcontinent during their nearly three-hundred-year reign from 1526 to 1857. The Mughal Empire, founded by Babur, a Turkic descendant from Central Asia, began in 1526 after defeating the Sultan of Delhi, Ibrahim Lodi, in the first Battle of Panipat. Babur laid the foundation, which was solidified during the reign of his grandson Akbar and expanded under Akbar’s great-grandson Aurangzeb. Under Aurangzeb’s reign, the Mughal Empire reached

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Kondakova, Olga N. "ALEXEY PETROVICH BOGOLYUBOV. HALF A CENTURY IN THE SERVICE OF THE NAVAL MINISTRY." History and Archives, no. 2 (2022): 117–35. http://dx.doi.org/10.28995/2658-6541-2022-2-117-135.

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The purpose of the study, carried out on the basis of numerous unpublished documents, is to present the various useful activities of Alexei Petrovich Bogolyubov, a painter and an Actual State Councilor in the Naval Ministry. A.P. Bogolyubov began his service as a midshipman on January 8, 1841, and worked actively in the Naval Ministry for about 55 years. More than 90 documents from various funds were found in the Russian Archives of the Navy, including the artist’s autographs. The recently discovered album of original drawings made by the artist in 1862 and 1864 is of greatest value. Professor

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Tabulina, Olga. "The Serenata of Baroque Period at the Court of the Austrian Habsburgs in the Context of Italian Cultural Expansion." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 41–50. http://dx.doi.org/10.31318/2522-4190.2022.134.269595.

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Relevance of the study. Contemporary performance has recently increasingly turned to ancient music, striving for historical authenticity in musical interpretations. In this regard, important questions arise, related both to the technical side of interpretation and deepening into the historical processes that influenced the emergence of certain genres, as well as the context of the creation of baroque works. «Archaeological excavations» are becoming justified, aimed at understanding the historical processes that influenced the formation of the baroque genre system, as well as the development of

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Vojvodic, Dragan. "The selection of royal figures in the image of power during the Palaiologan epoch: Byzantium - Serbia - Bulgaria." Zbornik radova Vizantoloskog instituta, no. 46 (2009): 409–33. http://dx.doi.org/10.2298/zrvi0946409v.

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The preserved presentations of the Byzantine basileis of the XIII, XIV and XV centuries show that the creators of the late Byzantine monarchical portraits adhered to certain traditional rules when selecting the personages from the ruling house, which they were to portray. Defining which figures were to be depicted in the portrayal of power depended to a large extent on the changing circumstances and events in the imperial house. However, at the same time this was also based on a significantly more profound conception that rested on principles that had evolved in the course of a long history. T

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SAGIV, IDIT. "THE IMAGE OF THE RIDER ON GRECO-ROMAN ENGRAVED GEMS FROM THE ISRAEL MUSEUM (JERUSALEM)." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 33–44. http://dx.doi.org/10.19090/i.2016.27.33-44.

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This paper explores the interpretations and context of equestrian Greco-Roman engraved gems kept at the Israel Museum in Jerusalem which had never been published prior to this study. It was written on the basis of a study which included photography, description, technical aspects, iconographic and stylistic analysis and, finally, dating the gems. In order to achieve this, they were compared to other known ones that had already been published. The results indicate that horsemen frequently appear as subjects on intaglios. The Roman engraved gems drew their inspiration from established Greek ride

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Petrova, Maya. "On Medicine, Physicians, and Healers in Ancient Rome." Hypothekai 6 (2022): 40–77. http://dx.doi.org/10.32880/2587-7127-2022-6-6-40-77.

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The paper discusses the issue of the attitude towards medicine, physicians, and healers in Ancient Rome (1st – 5th centuries) based on ancient texts (Juv. Sat., Plin. Nat. Hist., Mart. Ep., etc.). It is shown that the profession of physician in Rome did not immediately receive recognition. The reasons for this are revealed: first, Romans did not consider medicine an art (science), and second, those who were associated with medicine were not Romans by origin and did not initially have civil rights. The collective biography of the Roman physician is reconstructed; it is based on the surviving te

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Tabor, Dariusz. "King, Prophet or Priest? The Charisma of a Consecrated Ruler in the Ottonian Miniatures: Ideological Contents and the Functions of Presentations of the Saxon Dynasty Emperors." Roczniki Humanistyczne 66, no. 4 SELECTED PAPERS IN ENGLISH (2019): 7–35. http://dx.doi.org/10.18290/rh.2018.66.4-1e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 64 (2016), issue 4. The article focuses on miniatures of an enthroned emperor. These are: the miniature showing Otto II from the Registrum Gregorii (Chantilly, Musée Condé, MS 14), two miniatures from the so-called Gospels of Otto III (Munich, Bayerische Staatsbibliothek, Clm. 4453)—one showing Otto III and the other one showing the allegories of the provinces of the empire, two miniatures (Otto II and the provinces) contained in the Gospels bound in the code also containing works by Flavius Josephus (Bambe

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