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Journal articles on the topic 'Focusing on devotional painting'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Dr., Komal. "Colors of Devotion: The Role of Drawing and Painting in Indian Religious Art." SIDDHANTA'S INTERNATIONAL JOURNAL OF ADVANCED RESEARCH IN ARTS & HUMANITIES 1, no. 4 (2025): 115–25. https://doi.org/10.5281/zenodo.15516895.

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This paper explores the integral role of drawing and painting in Indian religious art as expressions of devotion and spirituality. Indian art is deeply interwoven with religious traditions, where visual forms transcend aesthetic value to serve as tools of worship, instruction, and divine presence. Focusing on their use in temples, festivals, and rituals, this research highlights how paintings and drawings, from intricate temple murals to ephemeral ritual designs like <em>kolam</em> and <em>alpana</em>, convey religious narratives, invite divine blessings, and cultivate spiritual consciousness.

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Meinecke, Gregor Christopher. "Heretical Hebrew." Qui Parle 33, no. 2 (2024): 263–323. https://doi.org/10.1215/10418385-11442450.

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Abstract This article discusses a Christian devotional painting by the Early Renaissance artist Andrea Mantegna. It traces its iconographic traits to illustrate its anti-Jewish implications by focusing on the depiction of an inscribed, pseudo-Hebrew paper crown. This attribute situates Mantegna’s painting within the humanist studies of Hebrew, the Veritas Hebraica, which was a means to access antique sources and to delegitimize Jewish belief. The article further draws a parallel to the burning of heretics, who wore similar crowns when they were condemned. Since Mantegna depicts the Jews with s

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3

Howe, Emily. "Divine Kingship and Dynastic Display: The Altar Wall Murals Of St Stephen's Chapel, Westminster." Antiquaries Journal 81 (September 2001): 259–303. http://dx.doi.org/10.1017/s0003581500072206.

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Destroyed by fire in 1834, St Stephen's Chapel at the Palace of Westminster was undoubtedly one of the most opulent and enduringly influential English building programmes of the late thirteenth and fourteenth centuries. Focusing on the programme of wall-painting which flanked its high altar, this paper seeks to clarify the royal chapel's importance not only in terms of its stylistic innovation, but as an arena for Edward Ill's kingly image-making. The study explores the ways in which the chapel space was used and the audiences for which its dynastically forward-looking images were intended. Sc

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Schlie, Heike. "Vom Ambo zum Retabel – Das Klosterneuburger Goldschmiedewerk von Nikolaus von Verdun." Zeitschrift für Kunstgeschichte 80, no. 2 (2017): 247–72. http://dx.doi.org/10.1515/zkg-2017-0013.

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Abstract The only signed work by Nicholas of Verdun, the metalwork which adorned the former ambo in the Klosterneuburg Monastery, was integrated into a foldable altarpiece around 1330 and thus transformed into a new medium. Besides being reframed, it was combined with new monumental paintings on the rear side of the triptych. It was not only handled differently and defined spatially in completely different terms, but the precious enamel- and metalwork could be hidden from sight by closing the wings. The added plates of metalwork at the center of the middle panel break up the hieratical and Euc

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Lamb, Rebekah. "Michael O’Brien’s Theological Aesthetics." Religions 12, no. 6 (2021): 451. http://dx.doi.org/10.3390/rel12060451.

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This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’

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6

Sadan, Ronah. "Processing the Raw." Periskop – Forum for kunsthistorisk debat, no. 30 (November 29, 2023): 150–69. http://dx.doi.org/10.7146/periskop.v2023i30.142015.

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In 1883, a late-medieval wall painting of the Last Judgment was discovered under white-wash in the vault of Sædinge Church in Lolland, Denmark, and then quickly covered up again. The painting depicted, in part, a hell scene deemed too offensive to display. A documentary drawing executed upon the painting’s uncovering contains within it the conflicted reception that this scandalous image received within the aesthetic and devotional context of the nineteenth century. Through this case of an image’s uncovering, documentation, and concealment, this article examines various understandings of negati

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Burke, Juan Luis. "From Courtesan to Saint." Latin American and Latinx Visual Culture 3, no. 2 (2021): 29–45. http://dx.doi.org/10.1525/lavc.2021.3.2.29.

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This essay analyzes the viceregal Mexican artist Juan Correa’s painting The Conversion of St. Mary Magdalene, from the late seventeenth century. A depiction of a woman explicitly displaying traits of her sensuality and sexuality in a Mexican viceregal artwork, the painting visually conveys symbolic embodiments of the feminine condition. These embodiments refer to religious penitence, self-reflection, mysticism, and the vita contemplativa. Moreover, I examine the episodic nature of the painting, associating it with feminine devotional practices. The painting’s pictorial configuration apparently

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Monzón Pertejo, Elena. "Devoción y erotismo en la Italia de los siglos XVI y XVII. Re-tratando a la Magdalena penitente." Imafronte, no. 31 (March 16, 2024): 65–77. https://doi.org/10.6018/imafronte.492401.

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The aim of this paper is to analyze the image of the penitent Magdalene in 16th and 17th century Italy, focusing on issues of corporality, sexuality, eroticism and devotion. A diachronic analysis shows the transformations of the penitent saint from her asexual body in the medieval centuries to the sensuality that her figure emanates in Italian Renaissance and Baroque painting. Special attention is paid to the tensions between devotion and eroticism that some of these images generate. Thus, among the objectives is the study of the relationships between form and meaning derived from the analysis

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Fioretti, Giovanna, Cinzia Campobasso, Giacomo Eramo, Alessandro Monno, and Gioacchino Tempesta. "On Devotional Artworks: A Non-Invasive Characterization of Pigments of the Madonna della Croce Wall Painting in Triggiano (Bari, Southern Italy)." Heritage 6, no. 5 (2023): 4263–81. http://dx.doi.org/10.3390/heritage6050225.

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Devotional artworks represent a valuable form of art, as they are evidence of religious worship and the demo-ethno-anthropological, as well as historical-artistic, heritage of a community, which is why they definitely belong to the cultural identity of a geographic area. The Madonna della Croce wall painting is an example of devotional art preserved today in the homonymous church in Triggiano (Bari, Italy). The presented study concerns the characterization of pigments used in the painting. The identification of pictorial materials had the aim of providing a contribution to knowledge about the

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Brüggen Israëls, Machtelt, and Giulia Sara de Vivo. "The Miraculous Madonna of Pistoia in a Devotional Replica of 1490–1500 Attributed to Niccolò di Mariano." Rijksmuseum Bulletin 72, no. 3 (2024): 196–217. http://dx.doi.org/10.52476/trb.19556.

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In this article, it is suggested that a small panel of the Madonna of Humility in the collection of the Rijksmuseum, executed with fifteenth-century woodworking and painting techniques and materials, is a devotional copy of the fresco of the Virgin of Humility in Pistoia that became miraculously active in 1490. Historical, stylistic, and archival evidence suggests the panel is possibly a work by Niccolò di Mariano (act. 1478; d. 1500), perhaps made as a devotional replica not long after the miraculous event.

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Minnich, Nelson H. "Raphael's Portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi: A Religious Interpretation." Renaissance Quarterly 56, no. 4 (2003): 1005–52. http://dx.doi.org/10.2307/1261978.

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AbstractA recent cleaning of the painting, scientific examinations of it, the publication of new letters related to it, and studies of the prophetic culture in which it was produced all call for a reevaluation of the traditional interpretations of Raphael's portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi. After a close analysis of the major iconographic details in the painting, the strengths and weaknesses of the various secular and religious interpretations of the painting are reviewed. That the painting is primarily religious in theme with prophetic and devotional overton

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Agoston, Laura Camille. "Male/Female, Italy/Flanders, Michelangelo/Vittoria Colonna." Renaissance Quarterly 58, no. 4 (2005): 1175–219. http://dx.doi.org/10.1353/ren.2008.0886.

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AbstractThis essay proposes a new reading of the famous passage comparing the devotional value of Flemish and Italian painting in Francisco de Holanda’s (1517-84) Portuguese treatiseDa pintura antigua. My purpose is to demonstrate that the polarizing and divisive claims made about Flemish painting are unmade in the text itself. The major grounds upon which Flemish art is attacked in the first of the four Roman dialogues are upheld for admiration in the second. The strongly misogynistic character of the passage on Flemish painting has obscured the more complex and shifting treatment of gender i

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13

Muller, Norman E. "Luca di Tommè’s Crucifixion in Montepulciano: Its Construction and Function." Zeitschrift für Kunstgeschichte 88, no. 1 (2025): 102–16. https://doi.org/10.1515/zkg-2025-1006.

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Abstract When Luca di Tommè’s Crucifixion in the Museo Civico, Montepulciano, first appeared in 1926, it became the only known Sienese painting on cloth from the Trecento, and thus a rare example of a type of Early Italian painting about which little is known. Because it was painted on cloth, it has been called a processional banner, yet until now no attempt has been made to determine whether in its choice of materials, or in its construction, it conforms with how banners were traditionally made, as described by Cennino Cennini in his Il Libro dell’Arte. That all changed during the Covid pande

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14

Silver, Larry. ":Devotional Portraiture and Spiritual Experience in Early Netherlandish Painting." Sixteenth Century Journal 51, no. 3 (2020): 827–29. http://dx.doi.org/10.1086/scj5103116.

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15

De Mambro Santos, Ricardo. "Shades of Grace: The Virgin of the Rocks and Leonardo da Vinci’s Notes on Paragone." Religions 12, no. 11 (2021): 994. http://dx.doi.org/10.3390/rel12110994.

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This essay analyses Leonardo da Vinci’s innovative iconography in the making of the panel known as the Virgin of the Rocks (Paris, Louvre) in relation to his considerations on the important Renaissance debate of Paragone, or comparison among the arts, namely, Painting, Sculpture, Music, and Poetry. It will be argued that this work, as a depiction of a complex religious theme, may be interpreted as a laboratory for Paragone-related demonstrations, especially in regards to five points: the optical tangibility of the image; the temporalities involved in the representation; the variety of subjects

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Pinkus, Assaf. "Transformations in Wood: Between Sculpture and Painting in Late Medieval Devotional Objects." Viator 48, no. 3 (2017): 263–91. http://dx.doi.org/10.1484/j.viator.5.116356.

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Żak-Kulesza, Małgorzata. "Obraz Świętej Rodziny przy stole z sanktuarium w Studziannie-Poświętnem w świetle tradycji ikonograficznej, wymowy ideowej graficznego pierwowzoru oraz w homilii koronacyjnej Prymasa Stefana Wyszyńskiego." Roczniki Humanistyczne 69, no. 4 Zeszyt specjalny (2021): 85–121. http://dx.doi.org/10.18290/rh21694spec-5.

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The painting of the Holy Family at the table in the sanctuary in Studzianna-Poświętne was created in 1629 on the basis of a graphic by Jacques Callot. Numerous reports of miraculous healings and graces received thanks to this painting made it popular with the faithful and numerous pilgrims visiting the sanctuary from the end of the 17th century. The culmination of these centuries-old devotional practices was the festive coronation of the painting of the Holy Family by Primate Stefan Wyszyński in August 18, 1968. The iconography of the painting is focused on the Holy Family gathered at the tabl

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18

Sanford, A. "Painting words, tasting sound: visions of Krishna in Paramanand's sixteenth-century devotional poetry." Journal of the American Academy of Religion 70, no. 1 (2002): 55–81. http://dx.doi.org/10.1093/jaar/70.1.55.

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19

Pradel, Chari. "“Portrait of Prince Shōtoku and Two Princes”: From Devotional Painting to Imperial Object." Artibus Asiae 74, no. 1 (2014): 191–219. https://doi.org/10.61342/dnau9978.

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20

Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.

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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.

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21

Bergholm, Alexandra. "Praying with Blathmac." Approaching Religion 12, no. 3 (2022): 48–61. http://dx.doi.org/10.30664/ar.112829.

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The mid-eighth-century Old Irish text known as the poems of Blathmac is a long devotional composition meditating on the mystery of Christ’s cross and its significance for salvation history. Since the discovery and subsequent publication of the text nearly six decades ago, the work has garnered considerable scholarly interest for its linguistic and socio-historical value, but many aspects of its devotional orientation remain less systematically explored. This article examines the poems’ devotional discourse by focusing on the intersections of martyrdom and memory in Blathmac’s composition. Taki

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22

Kleinbub, Christian K. "To Sow the Heart: Touch, Spiritual Anatomy, and Image Theory in Michelangelo’s Noli me tangere*." Renaissance Quarterly 66, no. 1 (2013): 81–129. http://dx.doi.org/10.1086/670405.

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Long neglected and misunderstood, Michelangelo’s Noli me tangere (ca. 1531–32) features a puzzling figuration of its biblical subject, wherein Christ, rather than withdrawing from Mary Magdalene, touches her left breast with his finger. Following Augustine’s interpretation that Christ at this moment sows the seed of faith in the Magdalene’s heart, this article explains this unprecedented motif as a dissemblant sign for the implantation of faith in the soul, while arguing, on account of the gesture’s resonance with issues of spiritual and sensual touching, that the painting makes an original th

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Chaturvedi, Namrata. "Christian Devotional Poetry and Sanskrit Hermeneutics." International Journal of Asian Christianity 1, no. 1 (2018): 64–90. http://dx.doi.org/10.1163/25424246-00101005.

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This paper focuses on exploring dhvani as a hermeneutical tool for reading Christian devotional literature. Dhvani is a theory of poetic suggestion proposed by Ānandavardhana in the eighth century and elaborated upon by Abhinavagupta in the eleventh century that posits layers of semantics in poetic language. By focusing on the devotional poetry of the seventeenth-century religious poets of England, this paper argues for Ānandavardhana’s proposed poetics of suggestion as an enabling way of reading and cognizing devotion as a psycho emotive process. In the context of Indian Christianity, dhvani

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24

Chen, Holly. "Mediating the Foreign." Re:Locations - Journal of the Asia-Pacific World 3, no. 2 (2020): 1–19. http://dx.doi.org/10.33137/relocations.v1i1.33508.

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In 1726, Dutch painter Willem van Royen’s painting: Birds and Flowers arrived in Japan as a gift from the Dutch East India Company to the Shogun Yoshimune. Subsequently, the painting was gifted to Gohyaku Rakanji, a Zen Obaku temple in Edo, where Japanese rangaku scholars: brothers Ishikawa Tairo and Moko and Tani Buncho encountered and copied the work. This article examines the translation in cultural meaning Van Royen’s painting underwent by analyzing transcultural remediations, or indigenous re-interpretations spawned by encounters with the work, and the persistence of the image due to its

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Timmermann, Achim. "The ship in the shop: An art history of late medieval ship models." International Journal of Maritime History 33, no. 2 (2021): 257–88. http://dx.doi.org/10.1177/08438714211013534.

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This contribution represents an attempt at a first outline of an art history of late medieval ship models and their contexts of use. Focusing on the mid-thirteenth through early sixteenth centuries, an age of rapidly expanding horizons, this study examines the design and role of miniature vessels at the intersection between devotional practices, courtly culture, modes of patronage and technological change. It explores three categories of ship models in particular: ex-voto ships that were presented to a specific shrine after a miraculous rescue at sea or naval victory; nefs, which served as pri

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Han, Yu-jin. "Value of Folk Painting as Civilian Painting - Focusing on Generality of Secular World." East Asian Culture and Thought 9 (December 31, 2020): 159–82. http://dx.doi.org/10.35203/eact.2020.12.159.

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Andronikou, Anthi. "La Serenissima in Cyprus: Aspects of Venetian Art on the Edge of a Maritime Empire, 1474/89–1570/1." Arts 12, no. 5 (2023): 186. http://dx.doi.org/10.3390/arts12050186.

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This article investigates the manifestation of Venetian visual culture of the Renaissance in the island of Cyprus, which, between 1474/89 and 1570/1, stood as one of Venice’s Mediterranean colonies. To date, scholarship on panel and wall painting production of Venetian Cyprus has devoted careful attention to the infiltration of Italian details and styles in the broader sense—mainly drawn from the Italian Middle Ages—thus failing to notice any correlations between Cypriot visual arts and contemporary Venetian. In this study, I aim to provide an overarching perspective that will illuminate the p

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Stoenescu, Livia. "Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma." Religions 12, no. 8 (2021): 609. http://dx.doi.org/10.3390/rel12080609.

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Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and s

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Smits, Lieke. "Small Pipe-Clay Devotional Figures: Touch, Play and Animation." Das Mittelalter 25, no. 2 (2020): 397–423. http://dx.doi.org/10.1515/mial-2020-0044.

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AbstractSmall, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries. In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Not only does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe. Through such practices images were animated and imbued with a divine power. Contemporary written sources

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Kim, Yeonjoo. "Pursuing the Aesthetics of ‘non-vulgarization’: Focusing on Shanshuichunquanji by Han Zhuo." Institute of Humanities at Soonchunhyang University 42, no. 3 (2023): 163–94. http://dx.doi.org/10.35222/ihsu.2023.42.3.163.

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This study aims to examine the aesthetic value of ‘non-vulgarization(不俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to p

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31

Kline, Rachel. "Bravura in Blue: Ultramarine in the Works of Artemisia Gentileschi." Comitatus: A Journal of Medieval and Renaissance Studies 55, no. 1 (2024): 187–217. http://dx.doi.org/10.1353/cjm.2024.a941936.

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Abstract: This paper adopts materiality as an interpretive lens to explore the gendered resonances of ultramarine in the works of Baroque painter Artemisia Gentileschi. The history of ultramarine in early Italian devotional painting and the Renaissance theory of colore provide a contextual backdrop for investigating how Artemisia considered the significance of her materials in the competitive seventeenth-century art market. As a female artist, Artemisia was uniquely scrutinized by her male patrons and competitors and was therefore pressed to strategically craft her self-representation as a wom

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Boros, Bianca. "Experimental Painting: Research and Conservation." International Journal of Conservation Science 14, no. 3 (2023): 803–18. http://dx.doi.org/10.36868/ijcs.2023.03.03.

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The paper discusses two main aspects: incorporating experimental painting in student workshops and presenting results from the Proinvent project for enhancing research excellence. Techniques like collage, decollage, and unconventional material use were explored. The postdoctoral role under the Proinvent project involved lectures and workshops, focusing on acrylic colour use and enriching students' art experiences.

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XING, Ruijie, and An DONG. "Research on Matisse's painting artistic style." Region - Educational Research and Reviews 6, no. 3 (2024): 165. http://dx.doi.org/10.32629/rerr.v6i3.1838.

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The subject of this study is Henri Matisse, focusing primarily on his painting artistic style. Matisse is the undisputed leader of Fauvism. In France, following Impressionism, a new force emerged that made painting more straightforward and widespread. This paper dives into Matisse's painting language, analyzing various influencing factors. The research aims to dissect Matisse's formal language in painting, combined with the context of his era, from aspects such as color and form, to explore the role this language played in his artistic creation. The study of Matisse's paintings will aid in con

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Yoon, Soohyun. "The Use of Books for Buddhist Embroideries in Seventeenth-Century China: The Cases of Avalokiteśvara and Bodhidharma Designs." Religions 16, no. 4 (2025): 422. https://doi.org/10.3390/rel16040422.

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Buddhist women in traditional China used embroidery—considered the most feminine art form—to produce images of deities, allowing them to visualize their religious aspirations while adhering to the decorum expected in Confucian society. This paper examines three Buddhist embroidery designs: one visualized in Avalokiteśvara (1619) and two from a catalog of embroidery designs titled A Collection of Scattered Red Clouds (mid-seventeenth century). By analyzing their similarity to the images found in popular illustrated publications of the seventeenth century, this study explores how Buddhist iconog

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Wang, Likun. "Analysis of the Use of Emotional Expression in the Creation of Watercolor Art." Highlights in Art and Design 4, no. 2 (2023): 1–4. http://dx.doi.org/10.54097/hiaad.v4i2.12151.

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Time is progressing, modern art is also booming, painting is not only focusing on beauty but a way of communication, painting can convey the emotions we want to express, which cannot be replaced by language. A good painting can integrate the creator's emotion with the painting, and reflect the performance of artistic thinking, so that the painting becomes lifelike, more vivid and natural as if reading the author's heart, as if communicating with the author, the form of language is the basis to support all the paintings. Watercolor painting has a long history, from the West into the land of Chi

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Cobuz, Raluca-Georgiana. "The Passion Cycle in the Sanctuaries of the Saxon Fortified Churches in Southern Transylvania." Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (2021): 43–66. http://dx.doi.org/10.24193/subbhist.2021.spiss.03.

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"This paper aims to reconstitute the pictorial program of some medieval Saxon churches’ sanctuaries, which are Mălâncrav, Curciu, Râşnov and Sibiu, with particular interest on the images regarding the Passion Cycle. The article will try to bring a stylistic and iconographic analysis of the Passion Cycle in the sanctuary, episodes that usually appear on the northern choir wall. Therefore, we aim to highlight the reasons why this Passion narrative was chosen to decorate this part of the sanctuary and what was its role both regarding the place that it occupies, that is near the most sacred place

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Williams, Mark R. F. "The Devotional Landscape of the Royalist Exile, 1649–1660." Journal of British Studies 53, no. 4 (2014): 909–33. http://dx.doi.org/10.1017/jbr.2014.111.

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AbstractThis study aims both to build upon and to challenge recent historiographical interest in the cultural origins and religious associations of royalism in the midseventeenth century by examining the devotional character of the exiled royalist community of the 1650s. Focusing primarily upon those royalists closely affiliated with the court of Charles II, it assesses the impact of disillusionment, dislocation, penury, and forced mobility upon the subsequent framings and reframings of religious identities. It considers the multiple venues in which these articulations appeared and were negoti

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Burchett, Patton. "Kabir and Pedagogy: Teaching the Politics of Religion through the Hagiography of an Indian Saint." Religions 15, no. 2 (2024): 155. http://dx.doi.org/10.3390/rel15020155.

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This essay discusses the virtues of hagiology-driven teaching and the pedagogical value of the saint in the religious studies classroom, focusing on how a series of class assignments and activities centered on the Indian devotional saint Kabir function in an undergraduate introductory-level religious studies course to effectively engage student learning, and develop students’ understanding of the politics of religion and the crucial interplay of affect, memory, and storytelling in religious life.

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Drpić, Ivan. "The Burdened Body: Byzantine Enkolpia and the Weight of the Sacred." Zeitschrift für Kunstgeschichte 86, no. 3 (2023): 289–317. http://dx.doi.org/10.1515/zkg-2023-3002.

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Abstract Few products of human artistry seem as insistently concerned with self-representation as jewelry. In Georg Simmel’s classic formulation, articles of personal adornment work to enhance an individual’s social persona by magnifying their Ausstrahlung. While medieval Christian devotional jewels were well-equipped to operate in this manner, their true significance lay elsewhere. Objects such as pectoral crosses, reliquary rings, rosaries, and prayer nuts were designed not so much to mediate between self and society, but rather to stage and facilitate an encounter of the self with itself. F

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Abeysekara, G. G. G. L. "The Position of Kabir Bhajans in North Indian Music." Journal of Research in Music 1, no. 2 (2023): 35–44. http://dx.doi.org/10.4038/jrm.v1i2.10.

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Kabirdas is a poet who lived in medieval India. He visioned to spread social purity with philosophical thinking through the poems which are termed as Nirgun bhajans. Bhajan is simply known for chanting the qualities and the physical appearance of Hindu deity/deities. The bhajans or poems composed by Kabirdas are not consisting of the latter, but they are also put under the term 'bhajan' in terms of lyrics and their musical presentation. Traditionally, bhajans refer to devotional songs that depict the qualities and physical attributes of various deities. However, Kabirdas' bhajans deviate from

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Shi, Yan, Yiwen Lu, Lijuan Liu, and Enmao Liu. "Virtual reality painting: A structured review of a decade of innovation." Metaverse 5, no. 1 (2024): 2546. http://dx.doi.org/10.54517/m.v5i1.2546.

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<p>Various studies have widely utilized virtual reality (VR) in painting creation. However, there has been few conclusive studies on VR painting. The present systematic literature review describes the current state of knowledge and practices using VR in painting and provides guidance for painters and scholars focusing on human computer interaction design by critically appraising and summarizing the existing research. It also outlines a wide range of results yielded by quantitative, qualitative and mixed-method studies to investigate potential benefits, difficulties, and effectiveness of

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Lu, Yixin. "Inheritance And Reconstruction of Modern Tempera Painting." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 292–302. http://dx.doi.org/10.54097/6cq6dv23.

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Tempera painting, as a classical Western painting material technique, has experienced more than a thousand years of fluctuation in the long river of painting. Due to the rapid development of the times, social and technological progress, changes in people's aesthetic concepts, and other factors, tempera painting has gradually entered into a new process, more adapted to the development of the new era and people's spiritual needs. This paper uses literature research method, case study method, summary method to systematically sort out the development and evolution of the system of Tanbera painting

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Ieven, Bram. "Deleuze Modernist." Deleuze Studies 5, no. 1 (2011): 84–96. http://dx.doi.org/10.3366/dls.2011.0009.

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This article discusses the distinction between Figure and Form that Deleuze introduces in Francis Bacon: The Logic of Sensation. He uses the distinction to articulate the difference between two trajectories in modernist painting: the first focusing on sensation, the second on cerebral abstraction. I argue that the distinction between Form and Figure – and the disjunction of two types of modernist painting initiated by this distinction – is not as easy to maintain as might appear at first sight. Mapping the lineages of modernist painting from Paul Cézanne to Georges Braque and Theo van Doesburg

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Vanhaelen, Angela. "Art, Affect, and Enslavement: The Song of the Oxcart in Colonial Dutch Brazil." Arts 13, no. 1 (2024): 25. http://dx.doi.org/10.3390/arts13010025.

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Focusing on a single artwork, Frans Post’s painting called The Oxen Cart of 1638, this article explores what Édouard Glissant calls the emotional apartheid of the plantation system. It argues that the affective evasion of Post’s painting fosters anti-Black racism by denying the full humanity of captive peoples. The painting is read together with Caspar Barlaeus’s contemporary apologia for the leadership of Maurits of Nassau, who was the governor-general of Dutch Brazil and Post’s patron. Focusing on classical and Neostoic understandings of governance and enslavement, the article turns to Paul

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Kim, David Young. "Points on a Field: Gentile da Fabriano and Gold Ground." Journal of Early Modern History 23, no. 2-3 (2019): 191–226. http://dx.doi.org/10.1163/15700658-12342636.

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Abstract This essay considers gold grounds in early Renaissance panel painting as sites of the possible, here understood in the word’s double meaning as artistic power and mimetic potential. After examining how gold ground in art historiography is depicted as a zone oscillating between worldliness and otherworldliness, the discussion focuses on the process and meaning of gold ground in Cennino Cennini’s Libro dell’arte (c. 1390) and Gentile da Fabriano’s Virgin and Child (c. 1405, Perugia, Galleria Nazionale dell’umbria), with focus placed on the technique of granulation (opus punctorium). Als

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Privitera, Antonella, Maria Francesca Alberghina, Elèna Privitera, and Salvatore Schiavone. "Multispectral Imaging and p-XRF for the Non-Invasive Characterization of the Anonymous Devotional Painting ‘Maria Santissima delle Grazie’ from Mirabella Imbáccari (Sicily, Italy)." Heritage 4, no. 3 (2021): 2320–36. http://dx.doi.org/10.3390/heritage4030131.

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This work presents the results of the in situ, non-invasive diagnostic investigations performed on the canvas oil painting depicting Madonna and Child, venerated as ‘Maria Santissima delle Grazie’ by the local religious community. The work of art (72 cm × 175 cm) is located on the high altar of the main Church in Mirabella Imbáccari, near Catania (Sicily, Italy). The painter is anonymous, and the supposed dating is the late eighteenth century. Although the painting has never been studied before, it has been attributed to a Sicilian workshop in the literature, raising the doubts of the art hist

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Berezkin, Rostislav. "Illustrations of the Mulian Story and the Tradition of Narrative Painting in China (Tenth–Fifteenth Centuries)." Religion and the Arts 20, no. 1-2 (2016): 5–28. http://dx.doi.org/10.1163/15685292-02001002.

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The story of Mulian rescuing his mother’s soul from hell was featured in numerous pictorial versions of different formats in China. They could take the form of multi-scene handscrolls, illustrations in manuscripts and editions, and separate scenes in devotional religious art objects such as murals and reliefs. The Mulian subject was of primary importance in the popularization of Buddhist ideas among different layers of society. The earliest extant pictorial versions of this story in China (tenth century) were related to Buddhist storytelling with the use of visual devices. Illustrations appear

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Zhang, Chenyu, and Lian Zhang. "The Visible and the Invisible: Jean-Luc Marion on the Artistic Phenomenology." Lecture Notes in Education Psychology and Public Media 50, no. 1 (2024): 262–67. http://dx.doi.org/10.54254/2753-7048/50/20240965.

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Jean-Luc Marion, as a renowned phenomenologist today, transcends painting from the realm of aesthetics and, through a series of fundamental inquiries into painting, images, and issues such as idols and icons, rearticulates phenomenology's overcoming of subjectivity. This article will reflect on Marion's artistic phenomenology, focusing on the visible and the invisible and describing painting, idols, and the most visible from the perspective of givenness. Particularly noteworthy is that painting is no longer seen merely as the intentional object of the viewer; it transcends the ordinary object

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Houghteling, Sylvia. "Dyeing the Springtime: The Art and Poetry of Fleeting Textile Colors in Medieval and Early Modern South Asia." Religions 11, no. 12 (2020): 627. http://dx.doi.org/10.3390/rel11120627.

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This paper explores the metaphorical and material significance of short-lived fabric dyes in medieval and early modern South Asian art, literature, and religious practice. It explores dyers’ manuals, paintings, textiles, and popular and devotional poetry to demonstrate how the existence of ephemeral dyes opened up possibilities for mutability that cannot be found within more stable, mineral pigments, set down on paper in painting. While the relationship between the image and the word in South Asian art is most often mutually enhancing, the relationship between words and color, and particularly

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de Klerck, Bram. "Trading places with the traitor: Pieter Pourbus (c. 1523-1584) and sixteenth-century Last Supper iconography." Oud Holland – Journal for Art of the Low Countries 137, no. 3 (2024): 107–20. http://dx.doi.org/10.1163/18750176-13703002.

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Pieter Pourbus’ Last Supper of 1548 (Bruges, Groeningemuseum) contains some unusual iconographic elements that have not yet been extensively analysed: the figure of Judas, rising from the table and making a move to leave the gathering; the devilish creature entering the room from the right; the boy picking up the overturned chair in the foreground. By making use of recent scholarly insights into the employment of the anthropological concept of ‘liminality’ in the context of the visual arts (notably by Lynn Jacobs on Early and Renaissance Netherlandish painting and manuscript illumination), thi

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