Relevant bibliographies by topics / Ethiopian Painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Ethiopian Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Ethiopian Painting"

1

Bender, Wolfgang. "Ethiopian Traditional Painting." African Arts 21, no. 3 (May 1988): 75. http://dx.doi.org/10.2307/3336450.

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Kuvatova, Valeria. "Western Iconography’s Impact on Ethiopian Painting: European Hell in Ethiopian Churches." Oriental Courier, no. 1-2 (2019): 110. http://dx.doi.org/10.18254/s268684310007903-6-1.

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Gnisci, Jacopo. "Picturing the liturgy: Notes on the iconography of the Holy Women at the Tomb in fourteenth- and early fifteenth-century Ethiopian manuscript illumination." Bulletin of the School of Oriental and African Studies 78, no. 3 (September 28, 2015): 557–95. http://dx.doi.org/10.1017/s0041977x15000488.

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AbstractAlmost five decades ago the late Stanislaw Chojnacki, one of the founding fathers of Ethiopian art history, began the task of describing the themes in Christian Ethiopian painting. Since then, others have contributed to the study of different subjects in Ethiopian art. Yet there are still gaps in our understanding of Ethiopian iconography. The aim of this study is to help fill these gaps by offering some remarks on the iconography of the Holy Women at the Tomb in fourteenth-century Ethiopian manuscript illumination.
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Bosc-Tiessé, Claire. "Stanisław Chojnacki: Christ’s Resurrection in Ethiopian Painting." Aethiopica 14 (April 18, 2013): 271–73. http://dx.doi.org/10.15460/aethiopica.14.1.430.

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Lofrumento, Cristiana, Marilena Ricci, Luca Bachechi, Denise De Feo, and Emilio Mario Castellucci. "The first spectroscopic analysis of Ethiopian prehistoric rock painting." Journal of Raman Spectroscopy 43, no. 6 (November 16, 2011): 809–16. http://dx.doi.org/10.1002/jrs.3096.

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6

Esler, Philip F., and Angus Pryor. "Painting 1 Enoch: Biblical Interpretation, Theology, and Artistic Practice." Biblical Theology Bulletin: Journal of Bible and Culture 50, no. 3 (July 31, 2020): 136–53. http://dx.doi.org/10.1177/0146107920934698.

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This article inaugurates a new approach to biblical interpretation that involves close collaboration on a particular text between a biblical interpreter (Philip Esler) and a practicing artist (Angus Pryor), culminating in the production of works of art that generate a new understanding of the text in question. This approach reflects the recent scholarly interest in how artists who paint biblical scenes are active interpreters of biblical texts. Here the text selected is 1 Enoch, while the artworks in question are four 2 x 2 meter paintings, in oil on canvas, that depict pivotal scenes from that text. The collaboration draws on Ethiopian tradition reflecting the scriptural status and widespread influence of 1 Enoch in Ethiopia and the fact that the complete text of the work was only preserved there until its rediscovery in modern times. The interpretative process includes a focus on the original meaning of 1 Enoch, which then influences the creation of artworks laden with theological meaning. This approach is equally available to interpreters more interested in the contemporary (rather than the historical) meaning of other biblical and extra-biblical texts where the connection with national traditions, if present, may be quite different.
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Pankhurst, Richard. "Ethiopian Painting of King Takla Haymanot's War with the Dervishes." African Arts 39, no. 2 (July 1, 2006): 64–88. http://dx.doi.org/10.1162/afar.2006.39.2.64.

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Niederstadt, L. "Of Kings and Cohorts: The Game of Genna in Ethiopian Popular Painting." International Journal of the History of Sport 19, no. 1 (March 2002): 57–71. http://dx.doi.org/10.1080/714001706.

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9

Biasio, Elisabeth. "Contemporary Ethiopian Painting in Traditional Style: From Church-based to Tourist Art." African Arts 42, no. 1 (March 2009): 14–25. http://dx.doi.org/10.1162/afar.2009.42.1.14.

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10

Joao Ramos, Manuel, and Isabel Boavida. "Ambiguous Legitimacy: the Legend of the Queen of Sheba in Popular Ethiopian Painting." Annales d'Ethiopie 21, no. 1 (2005): 85–92. http://dx.doi.org/10.3406/ethio.2005.1094.

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Dissertations / Theses on the topic "Ethiopian Painting"

1

Johnson, Edwin Hamilton. "Patronage and the theological integrity of Ethiopian Orthodox sacred paintings in present day Addis Ababa, Ethiopia." Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/13152/.

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Fayers-Kerr, Kate Nialla. "Beyond the social skin : healing arts and sacred clays among the Mun (Mursi) of Southwest Ethiopia." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f0831040-95b1-4548-a1f6-ebe2dda62d87.

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Books on the topic "Ethiopian Painting"

1

ʻUrgésā, Tesfāye. Tesfaye Urgessa: Fremdkörper. Tübingen: Wasmuth Verlag, 2016.

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2

Fisseha, Girma, and Monika Winkler. Äthiopien in der volkstümlichen Malerei. Edited by Winkler Monika, Fisseha Girma, and Institut für Auslandsbeziehungen. Stuttgart: Institut für Auslandsbeziehungen, 1993.

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3

Fisseha, Girma. Mensch und Geschichte in Äthiopiens Volksmalerei. Innsbruck: Pinguin-Verlag, 1985.

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4

Osman, Feisal, and Eshetu Tiruneh. Selamta Ethiopia: Contemporary artists from Ethiopia. [Villorba, Italy]: Fabrica, 2014.

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5

author, Sobania N. W., ed. Ethiopian Church Art: Painters, patrons, purveyors. Los Angeles, CA: Tsehai Publishers, 2022.

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6

italo-africano, Istituto, ed. Pittura etiopica tradizionale. Roma: Istituto italo-africano, 1989.

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7

Mehretu, Julie. Julie Mehretu: Drawings. New York, N.Y: Rizzoli International Publications, 2007.

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8

Raineri, Osvaldo. Santi guerrieri a cavallo: Tele etiopiche : tele di Qēs Adamu Tesfaw. Clusone [Italy]: Ferrari, 1996.

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9

Lisboa, Bedeteca de, ed. A pintura narrativa etíope: Narrative art in Ethiopia. Lisboa: Câmara Municipal, 2000.

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10

1970-, Mehretu Julie, Hart Rebecca R, Katchka Kinsey, and Detroit Institute of Arts, eds. Julie Mehretu: City sitings. Detroit: Detroit Institute of Arts, 2007.

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Book chapters on the topic "Ethiopian Painting"

1

Tribe, Tania C. "Memory and Wonder: Our Lady Mary in Ethiopian Painting (15th–18th Centuries)." In Memory & Oblivion, 625–34. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_72.

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2

Donkor, Kimathi. "Africana Andromeda." In Classicisms in the Black Atlantic, 163–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.003.0007.

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The Tate’s national collection of British art includes work about the Greek myth of Andromeda who, according to the Roman poet, Ovid, was an Ethiopian princess rescued from death by Perseus. This chapter explores this racialized, gendered narrative and Andromeda’s suppressed African heritage through writing, reading, digital design, painting, photography, and drawing. How do British, Classical, and Black identities interact through art, and how are such processes mediated through a complex history characterized by colonialism and slavery, as well as by independence, struggle, and settlement? Informed by the disruptive spirit of Frantz Fanon, the author’s studio practice responds to Tate artworks, like Henry Fehr’s monumental sculpture, as well as to whiteness in Burne-Jones’ and Turner’s paintings. The author’s own artwork Rescue of Andromeda is proposed as demonstrative of how critical reading and studio methodologies can facilitate new art celebrating ascendant black womanhood, whilst contributing to debates about artistic tradition and popular culture.
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Gervers, Michael. "The West Portal Ceiling Paintings in the Zagwe Church of Yəmrəḥannä Krəstos." In Studies in Ethiopian Languages, Literature, and History, 35–64. Harrassowitz, O, 2017. http://dx.doi.org/10.2307/j.ctvckq4mn.7.

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Fletcher, Peter. "Aspects of Civilization." In World Musics in Context, 64–76. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198166368.003.0004.

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Abstract Fossil finds in East Africa suggest that the genus Homo emerged there some two million years ago. Modern humans are thought to have originated in Africa some 100,000 years ago: fossil finds in South Africa, Ethiopia, and Israel attest to the success and widespread dispersal of a new species. These early humans made effective tools and weapons, and were probably able to communicate through some form of spoken language. ·with the later Stone Age (or ‘Upper Palaeolithic ‘) of sorr1e 40,000 years ago, such activities as orderly burial of the dead, and painting of wildlife scenes on cave walls and rock faces, bear witness to a more advanced capacity for structured thought. The development of language, the medium for such thought, may then be associated specifically with the development of Homo sapiens sapiens (anatomically modern humans).
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Mitchell, Peter. "Introducing Horse Nations." In Horse Nations. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198703839.003.0006.

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Hidden by rocks near a waterhole in Australia’s desert interior an Aboriginal woman and her children catch their first sight of the shockingly large animal of which they have previously only heard: the newcomer’s kangaroo. Thousands of kilometres to the west and high in southern Africa’s mountains a shaman completes the painting of an animal that does not exist, horned at the front, bushy tail at the rear, a composite of two species, one long familiar, the other new. Across the Atlantic Ocean on the grasslands of Patagonia the burial of an Aónik’enk leader is in its final stages, four of his favourite possessions killed above the grave to ensure his swift passage to the afterlife. To the north in what Americans of European descent call New Mexico, Diné warriors chant the sacred songs that ensure their pursuers will not catch them and that they will return safely home. And on the wintry plains of what is not yet Alberta, Siksikáwa hunters charge into one of the last bison herds they will harvest before the snows bring this year’s hunting to an end. Two things unite these very different scenes. First, though we cannot be sure, the historical, ethnographic, and archaeological sources on which they are based allow for them all happening on precisely the same day, sometime in the 1860s. Second, all concern people’s relationship with one and the same animal—pindi nanto, karkan, kawoi, ∤íí’, ponokáómita·wa—the animal that English speakers know as ‘horse’. And that simple fact provides the basis for this book. For, before 1492, horses were confined to the Old World—Europe, Asia, and Africa north of the tropical rainforests and a line reaching east through South Sudan, Ethiopia, and Somalia to the sea. They were wholly unknown in Australasia, the Americas, or southern Africa. As a result, the relationships implied by the vignettes I have just sketched, as well as those involving Indigenous populations in Colombia, Venezuela, Brazil, Paraguay, Uruguay, Chile, Mexico, South Africa, and New Zealand, evolved quickly. And they were still evolving when these societies were finally overwhelmed by European colonization.
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