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1
Dopko, Cynthia Hogan. "Reassessment a mummy shroud from the North Carolina Museum of Art /." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04122004-163107/.
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The purpose of this research has been to reassess the dating and iconography of a Roman period mummy shroud entitled, Mummy Portrait of a Young Man from the Fayum, in the collection of the North Carolina Museum of Art. This reevaluation benefited greatly from the recent international scholarship and museum exhibitions done on mummy portraits from Roman Egypt in the past few years. The research for the North Carolina shroud involved analyzing, in detail, the unique symbolic arrangement depicted on the shroud by evaluating each of the object?s four registers individually as well as assessing the composition as a whole. This research found that the symbolic content of the shroud, as a whole, possesses a cohesive iconographical message. The registers of the shroud depict the individual, his mummification, revivification, and subsequent rebirth into an afterlife, if read from top to bottom. Further, this research has concluded that the numerous symbols on the shroud support this ritual transformation as well as point to its relationship with the Isiac or Serapion mystery cult. The fourth century date of this shroud has been redated to the third century and the stylistic features of the shroud?s design point to an Er-Rubayat provenance. It is hoped that this research will benefit the North Carolina Museum of Art, and enter this mummy shroud into the on-going international scholarship on mummy portraits from Roman Egypt.
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Deacon, Vivien. "The rock-art landscapes of Rombalds Moor, West Yorkshire : standing on holy ground." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21345/.
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This study adopts a landscape approach to all the rock-art sites on Rombalds Moor in West Yorkshire, 252 unmoved sites, to consider views of and from the sites. British rock-art is generally believed to date from the later Neolithic to the later Bronze Age, but a case is made for it perhaps beginning in the later Mesolithic. What is known of environments for the Moor over this whole period provides a basis for a reconstruction of rock-art landscapes. A case is made for the applicability of ethnography from the whole circumpolar region to the personal construction of people’s landscapes in prehistoric Britain. All sites were visited, and the sites and their views recorded, both as written records and as photographs. The data was analysed at four spatial scales, from the whole Moor down to the individual rock. Several large prominent carved rocks, interpreted as natural monuments, were found to be visible from many much smaller rock-art sites. Several clusters of rock-art sites were identified. An alignment was also identified, composed of carved stones perhaps moved into position, and other perhaps-moved carved stones were also identified. The possibility that far-distant views might be significant was also indicated by some of the findings. The physicality of carving arose as a major theme. The natural monuments are all difficult or dangerous to carve, leading to considerations of risk, including being seen to embrace risk. Conversely, the more common, simple sites mostly required the carver to kneel or crouch down. This leads to comparisons with what is known of North American rock-art, where some highly visible sites were carved by religious specialists, and others, much smaller and inconspicuous, were carved by ordinary people. This was not an expected finding for British rock-art, and further research is indicated.
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Bell, Aileen E. "The white knight: Edwin Austin Abbey's "Quest for the Holy Grail" in the Boston Public Library." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278796.
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The Boston Public Library was founded on the principle that it would serve the needs of Boston's entire populace, without respect to class, race, or gender. However, despite this democratic ideology, the nineteenth-century library, in its practices and artistic expressions, articulated an elite conception of the perfect American. Edwin Austin Abbey's Quest for the Holy Grail (1890--1902), painted for the library building of McKim, Mead, and White (begun 1883), embodies the cosmopolitan, Protestant, Anglo-Saxon, and masculine values of Boston's elite through its American Renaissance style, its subject, and its iconography. In particular, the figure of Galahad, the hero of Abbey's mural, conforms to models of spirituality, race, and manhood that legitimated the power and social position of the financial, political, and cultural elite that administered and constructed the library.
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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.
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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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O'Brien, MaryEllen. "The ars moriendi tradition a hermeneutic of the art of holy dying in history and contemporary practice /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Stevens, Anthea. "Sine macula sunt : the Holy Innocents and their portrayal in Italian art c. 1200 to c. 1500." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540536.
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Ki, Dongyoun. "Holy War in Exodus 14-15 a comparison of the concept of war in Exodus 14-15 with that of the ancient Near East /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Bushnell, Taissa. "Thronis meis binis : validation through history in the court art of Charles IV." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31093.
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Bohemian art of the second half of the fourteenth century is closely associated with the personality of Charles IV, Emperor of the Romans and King of Bohemia (1316--1378). In an effort to legitimize his reign as ruler of the Holy Roman Empire and to raise the profile of his ancestral Bohemian lands, he leaned on the power of history to reveal his heritage as stemming, on one side, from an illustrious line of emperors including Charlemagne, and on the other, from the dynasty of Bohemian sovereigns. He recognized that art could display this legitimization and so implemented a programme of historicism in his artistic commissions. His impact on Bohemian art was indirect as well: his ideas influenced the art patronage of his closest court advisers, as seen in this paper through the examples of two illuminated manuscripts, the Evangeliary of John of Opava and the Liber viaticus.
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Wood, Mary Catherine Lee. "Statuary at the Evangelical Lutheran Church of the Holy Trinity in Lancaster, Pennsylvania Matthew, Mark, Luke, John, and a community with a mission /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 83 p, 2007. http://proquest.umi.com/pqdweb?did=1338866141&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.
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Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.Department of Art
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Angers, Philippe 1968. "Principles of religious imitation in mediaeval architecture : an analysis of the Holy Sepulchre in Jerusalem and its European copies from the Carolingian period to the late Romanesque." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98534.
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This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction.In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom.
A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas.
From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy".
The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure.
From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.
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Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.
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Zhou, Yang. ""Sposalizio di S. Caterina" of Adriaen Isenbrant: diagnostic analyses of the painting with the aid of restoration." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27682.
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Abstract: This study investigates the conservation status, previous intervention, executive techniques and pigment materials of the painting “SPOSALIZIO DI S. CATERINA”, attributed to Adriaen Isenbrant back to 16th century. The analysis was carried out based on the combination of scientific examination and restoration exploration. The scientific examination includes both in-situ non-invasive techniques and laboratory micro-destructive techniques. Non-invasive examination consists of the application of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false color (IRFC) and energy dispersive X-ray fluorescence (ED-XRF), whereas micro-destructive analysis comprises optical microscope (OM). The obtained results revealed that the painting was in a relatively good condition with several times of previous restoration, it was painted with typical Flemish painting techniques and materials in 16th century: a panel made of chestnut wood, a preparation layer composed of lead white colored in pale grey and brownish-orange, few of underdrawings and some pentimenti, with the palette composed of cinnabar and red ochre for red, verdigris or malachite for green, azurite for blue and yellow ocher for yellow. Moreover, this study provides an evidence that restoration, in particular during the cleaning of the painted surface and panel restoration process, is also acting as a very useful tool for painting investigation, being complementary with scientific examination, therefore it is of necessity to correctly and timely gather the information during the restoration process.
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Penkrat, Tatiana. "Image and liturgy the history and meaning of the Epitaphion /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.
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Armstrong, Amatullah. "The artist transformed : Sufi views on the development of the self and art." Thesis, Queensland University of Technology, 1997.
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Abu Madyan Shu'ayb, the exalted Sufi Shaykh of twelfth century North Africa and a contemporary of Shaykh Muhyi-d-Din Ibn al' Arabi, used to say to his disciples, "Feed us with fresh meat." He did not want them to merely relate what another person had to say about Knowledge of Allah. He wanted his disciples, those who struggled on the Sufi Path, to bring forth from the depths of their own hearts that particular Knowledge which Allah had given to each
of them. Shaykh Ibn al-'Arabi often quotes the famous Sufi axiom, "Selfdisclosure never repeats Itself" that is, Allah never reveals or unveils Himself in the same manner in two successive moments to any two creatures within His Creation - ever. The Artist Transformed: Sufi Views on the Development of the Self and Art is a meal containing portions of the fresh meat about which Shaykh Abu Madyan Shu'ayb used to speak. The meat is neither raw nor undercooked nor burned. It is fresh in that it brings forth, for the first time, certain aspects of the Spiritual
Doctrine and Methods of Tasawwuf, explaining them and then relating them to the Sufi artist and his world. This meal is not to everyone's taste. It will only be agreeable, health giving and even delicious to those men and women who genuinely yearn for and seek Knowledge of the Divinity.
From the Sufi perspective, fresh and spontaneous Knowledge,
which enters the purified human heart in the flash of a second, is the only knowledge worthy of being called True Knowledge. This endless unfolding of True Knowledge from the Essence Itself is Real Islam; the Total and Perfect Submission to Allah and the Unconditional Love of Him which marks the final unending stage in the Holy Prophet Muhammad's Art and Science of Self-Transformation. "Islam is a spiral, having its beginning with us in the law
of the community and its end is with God in infinitude.
Anyone ascending this ladder continues towards God in infinitude. Thus, every moment, he gains increased knowledge and consequently surrenders himself, more and more, to God ... This is not idealistic talk, because it has a practical beginning that is placed firmly on the ground in order to lead everyone upwards in itlaq, infinitude, at varying degrees of achievement, each according to his level of knowledge. Everyone is ascending this ladder; 'Above every knowledgeable one is another who is even more knowledgeable' ([The Holy Qur'an] 12:76), until knowledge itself culminates with [God] the 'Knowledgeable of all the unknown' ([The Holy Qur'an] 9:78)." This Art and Science of Self-Transformation is known as Tasawwuf. Within Tasawwuf True Knowledge is called ma 'rifa. It indicates Heart Knowledge not head knowledge. Ma 'rifa cannot be learned. It is the Knowledge which is not to be found in books. Ma 'rifa is the very core of Tasawwuf. This thesis concentrates upon the Art and Science
of Transformation and the Spiritual Methods which aim at purifying the heart in readiness to receive ma 'rifa.
From the Sufi viewpoint, the here below cannot be understood
without Illumination from Above. Therefore, all Sufi writings begin from Above, from the Source, from Allah. There is a distinction to be made between Sufi writings and writings about Sufism. Sufi writings refer to works by people who are themselves initiates of a Sufi Tariqa (Path or Order). They are writings from the inside. In contrast, writings about Sufism are studies and observations from the
outside, by people who are not connected to a Sufi Tariqa. This thesis has been researched and written from within the Living Tradition of Tasawwuf by a Western initiate in an authentic Sufi Tariqa, the Tariqa al-Burhaniyya ad-Dasuqiyya ash-Shadhiliyya. Thus the scope of this thesis is to examine both the Spiritual Doctrine and Methods which permeate the traditional world of the Sufi artist. Every moment of his existence and every aspect of the world in which he lives and creates are penetrated and permeated by the Divine Word of the Holy Qur'an. Therefore, the Spiritual Doctrine and Methods of Tasawwuf, which spring directly from the Holy Qur'an, are the central concern of this thesis.
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Mercader, Saavedra Santiago. "Els monuments de Setmana Santa de la catedral de Barcelona: Art i litúrgia (De l'època moderna als nostres dies)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132250.
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Aquesta tesi doctoral té com a objecte l’estudi dels monuments de Setmana Santa, és a dir les cases de reserva, on entre el Dijous i el Divendres Sant es guardava el Sant Sacrament per a la comunió dels fidels. Partint de l’exemple específic de la catedral de Barcelona, s’explica la història d’aquestes obres, una de les majors manifestacions de l’art efímer en l’època moderna i contemporània. La tesi no només es planteja com un estudi històrico-artístic, sinó que aporta interpretacions tant sociològiques com teològiques, sobre el sentit i ús d’aquestes peces, sotmeses als canvis i transformacions operades en el sí de la societat dels darrers segles. La ritualització de la missa també té protagonisme en tant que el monument hi jugava un paper cabdal en la litúrgia religiosa dins l’església. La rellevància d’aquestes obres d’art queda palesa amb la participació d’artistes tan notables dins el nostre panorama com: Antoni Viladomat, Josep Sunyer i Raurell, Josep Oriol Mestres, August Font i Carreras i Enric Sagnier, entre d’altres. A més de donar a conèixer copiosa informació inèdita sobre aquest camp de recerca, poc atès al nostre país, la tesi s’enriqueix mercès a la troballa i recuperació d’algunes obres d’art que es donaven per desaparegudes i que, per fortuna, s’han conservat i estudiat. A tal efecte, la tesi també pretén obrir nous camps de recerca i ajudar a conèixer més sobre aquesta matèria.This work is focused on the study of Monuments of Easter in Barcelona’s Cathedral along modern and contemporary ages. We call “monument” as the liturgical and artistic piece that is dedicated to keep the Holy Sacrament from Thursday to Friday inside churches and that later, is given to remember the Sacrifice of Christ to catholic community. The study is based on Barcelona’s cathedral, and it explains all the ephemeral structures (most of them made of woodworks, paintings, sculpture pieces and architectonic designs) that were used to look after the Holy Form for this important calendar days. This thesis is presented not only as an study of historical and artistic meaning, but provides both sociological and theological interpretations around this sort of pieces. Besides, our study explains the prominence of the monument that played a crucial role in the religious liturgy inside Church. The relevance of these works is shown with the participation of important Catalan painters, sculptors and architects such: Antoni Viladomat, Josep Sunyer, Josep Oriol Mestres, August Font, Enric Sagnier, etc. Finally this work unveil new information coming from archives and gets enriched of some additional artistic pieces that were given for missing but that luckily have been saved and studied. To sum up, this research tries to open new fields of study about this subject.
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Cayuela, Vellido Begoña. "Tradiciones y transmisión iconográfica en el arte altomedieval. La iconografía del sacrificio de Isaac en el arte hispánico (siglos VII al XII)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/129907.
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Esta tesis estudia la iconografía del sacrificio de Isaac en un grupo de obras medievales hispanas, cuya cronología abarca desde el siglo VII al siglo XII. El trabajo se centra en investigar las formas de transmisión de modelos de un determinado repertorio figurativo al que se aplica el método iconográfico como herramienta de análisis, con un enfoque en el que preocupan especialmente las interacciones entre texto e imagen. La historia que se narra en Génesis 22 ha generado un aparato exegético, cuya bibliografía es prácticamente inabordable, que ha servido al cristianismo para asimilar el tema del Antiguo Testamento desde múltiples perspectivas, entre las que destaca la interpretación tipológica de la Pasión de Cristo. Asimismo, la historia bíblica ha sido representada con profusión en el arte cristiano desde sus inicios. Por tanto, se trata de una imagen elaborada a partir de un texto preexistente. El planteamiento inicial supone una serie de modelos y de patrones iconográficos estables cuyas desviaciones se pueden explicar tomando como base una fuente literaria. Esta tesis evalúa y analiza los límites de esta hipótesis. Una investigación de estas características solo es posible si se dispone de un corpus que incluya un sucinto estado de la cuestión para cada obra a estudiar, con el aparato descriptivo, crítico y bibliográfico más actualizado y relevante posible. La sistematización de este catálogo a partir del corpus es una de las aportaciones de esta tesis, ya que puede servir para futuras investigaciones que precisen de los datos recopilados.
La decisión de elaborar un catálogo iconográfico ha situado a esta investigación en unos parámetros tanto teóricos como metodológicos que se han ido estableciendo puntualmente. Se entiende la iconografía como un proceso de análisis que describe verbalmente el contenido de las imágenes mediante un sistema de decodificación que, idealmente, es gradual, y que va de la identificación a la interpretación, pasando por la descripción minuciosa de dichos contenidos para inferir el tema representado. La evaluación de este método analítico se hace a partir de un repaso historiográfico que contextualiza su validez, y continúa con un breve recorrido por las aplicaciones concretas en las representaciones del sacrificio de Isaac en el arte, así como una revisión de las cuestiones más importantes que han suscitado estas aproximaciones iconográficas. Por otra parte, se pone de relieve que el análisis iconográfico conduce, de manera natural, a la ordenación taxonómica con lo que la elaboración de catálogos se presenta como una tarea ineludible. Se considera que el principio heurístico de la catalogación es válido no sólo en un proceso de sistematización tradicional del corpus, sino que se indican sus posibilidades de migración al mundo digital. Por ello, una de las decisiones asociadas con la creación del catálogo ha sido el desarrollo de un programa informático, denominado Iconoteca, para gestionar la información que se iba recopilando durante el proceso de investigación que incluyera el material gráfico asociado a cada una de las obras estudiadas.
El grueso de la tesis lo constituye el catálogo, que ha sido concebido como una herramienta de consulta cuyo manejo pueda hacerse de una manera aleatoria y modular. El resultado de este tipo de aproximaciones taxonómicas constituye una base firme para elaborar y contrastar hipótesis, como por ejemplo, evaluar las relaciones texto-imagen centradas en el tema iconográfico del sacrificio de Isaac. Este enfoque se ha desarrollado en el último capítulo y ha consistido en una revisión y un análisis en profundidad de algunas particularidades iconográficas del tema en el arte medieval hispano que, aunque conocidas, no siempre habían recibido una atención específica, y para las que se propone una interpretación renovada.This thesis studies the iconography of the sacrifice of Isaac in a group of Hispanic medieval works dating from the seventh century to the twelfth century. The research focuses on the modes of transmission of models and visual patterns of a particular figurative repertoire applying the iconographic method as an analytical tool, where a particular concern is the interactions between text and image. The story, arising from Genesis 22, has generated an exegetical apparatus whose bibliography is almost unreachable and has served to Christianity to assimilate the subject of the Old Testament from multiple perspectives, among which the most important is the typological interpretation of the Passion of Christ. Therefore, the premise is that of an image produced from an existing text. The initial approach departs from the assumption of the existence of a stable iconography whose deviations should be explained better if we assume a literary source for every single iconographic motif. This thesis analyses the limits of this hypothesis. A research of this nature is only possible with a corpus that collects as much information as possible for each artwork to study, along with the most current and relevant data in order to provide a descriptive, critical and bibliographical apparatus. The systematization of this catalogue is one of the contributions of this thesis, because it can serve for future research. The decision to develop an iconographic catalogue as a research tool implies a theoretical and methodological contextualization. On the other hand, it emphasizes that iconographic analysis leads, naturally, to the management of taxonomies. Furthermore, the creation of this catalogue is an unavoidable task. The heuristic principle of cataloguing constitutes the premise not only in the process of traditional systematization of a corpus, but also in the migration to the digital world. Therefore, one of the decisions associated with the creation of the catalogue has been the development of computer software, called Iconoteca, in order to manage all the information collected during the research process to include not only the artworks but also the images associated on each item. The bulk of the thesis consists of the corpus of artworks with representations of the sacrifice of Isaac. The text design of the corpus functions as a query tool and the reader can consult the catalogue modularly in a random manner. The result of such taxonomic approach provides a sound basis for developing and testing hypotheses, such as the relationship between text and image in the iconography of the sacrifice of Isaac. The last chapter develops this approach and consists of a review and a thorough analysis of some iconographic peculiarities of the subject in Spanish medieval art. These peculiarities, although known, had not always received specific attention and this thesis proposes a renewed interpretation.
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Hauenfels, Theresia. "Visualisierung von Herrschaftsanspruch die Habsburger und Habsburg-Lothringer in Bildern." Wien Praesens-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2704892&prov=M&dok_var=1&dok_ext=htm.
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Hoffman, J. Starr. "Passionate transformation in vernicle images." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4701/.
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This thesis will examine the iconography of late-thirteenth- through fifteenth-century images of St. Veronica's veil, also known as vernicles. In the late Middle Ages, vernicle iconography changed from iconic representations of Christ's face toward graphic imagery of Christ's suffering during his Passion. These passionate transformations, as I have called them, were affected by the Roman Sudarium relic, popular devotion to Christ's suffering and humanity during his Passion, and the Catholic ritual of Mass. This thesis will consider how the function of vernicle images during Mass was reflected in their iconography throughout Europe between 1250 and 1500.
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Dari, Sana. "La peinture orientalise en Palestine et en Syri à la fin du XIXe et au début du XXe siècle : "la connotation religieuse et le tabou local"." Paris 1, 2001. http://www.theses.fr/2001PA010537.
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La dimension religieuse, qui apparait comme un caractère distinctif de la scène orientaliste en Syrie Palestine dans la deuxième moitié du XIXe et au début du XXe siècle était absente de l'école française un siècle plus tôt. Par sa précision topographique et son interprétation religieuse, la peinture orientaliste de Syrie Palestine s'apparente aux œuvres préraphaélites. En fait, le recours à la dimension religieuse, intensément exploitée par une société coloniale britannique, le Palestine exploration fund, entretient la confusion entre ce qui relève de l'art et ce qui relève du discours officiel. Cela apparait notamment dans l'idéalisation de Jérusalem, qui falsifie et occulte le caractère arabe de la cité. L'apparent emprunt aux thèmes quotidiens, qui semble imposer l'œuvre orientaliste comme un portrait ethnographique de l'Orient, est une reformulation de la réalité d'après une projection iconographique occidentale, y compris par le recours à une typologie et une toponymie bibliques. On distingue alors dans les scènes orientalistes des écoles anglaise, française, allemande et américaine, ce qui est purement imaginaire et ce qui est imaginaire recycle dans un cadre colonial. Pourtant, W. H. Hunt, simplement mu par le souci vériste, a réussi à composer à l'apogée de sa création poétique une œuvre qui offre un échantillon de réalité ethnographique.
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Dilla, Martí Ramon. "Sant Ramon de Penyafort. Imatge, devoció i santedat." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/418807.
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La present recerca doctoral es dedica a les representacions de Ramon de Penyafort (c.1185-1275) dins del marc de la construcció de la imatge religiosa en època moderna. El punt de partida és l’anàlisi de les primeres figuracions medievals del dominic català, amb l’objectiu d’observar d’una manera àmplia i transversal la gènesi, evolució i variants experimentades en la seva iconografia d’ençà del 1601, quan el personatge assoleix definitivament la santedat.
Els continguts de la tesi s’han organitzat a partir de tres blocs principals, precedits per la introducció i les conclusions pertinents. El primer bloc presenta un recull biogràfic de Ramon de Penyafort com a personatge històric, tot subratllant les principals fites que contribuïren a la seva fama com a jurista i predicador de prestigi, abans d’afrontar detalladament la història del procés de canonització del personatge des de la seva mort l’any 1275, fins a la solemne canonització de 1601, celebrada a la nova Basílica de Sant Pere, sota la cúpula dissenyada per Michelangelo.
El segon bloc de la tesi gira a redós de la difusió del culte a sant Ramon de Penyafort després de 1601 a Catalunya, però també a les penínsules ibèrica i itàlica, completant el marc geogràfic de l’anomenat Mediterrani catòlic. En aquests territoris es constata com durant les primeres dècades del segle XVII el culte a sant Ramon de Penyafort esdevé emergent i genera esplendoroses festes de canonització, però també nous encàrrecs artístics destinats a la veneració del dominic català, entre els quals destaca la desapareguda capella del sant al convent de Santa Caterina de Barcelona.
El tercer bloc temàtic analitza sis qüestions vinculades directament a la imatge raimundiana, que abracen des de la gènesi de les representacions del frare dominic en època medieval, fins a la fixació de la seva iconografia arran de la canonització de 1601. Entre les problemàtiques plantejades, hi ha un especial èmfasi en la creació i difusió de la Transfretació, o viatge miraculós del sant sobre la seva capa entre Mallorca i Barcelona, però també en el seu impacte dins del cicle fundacional de l’Orde de la Mercè de Redempció de captius, així com en els seves conseqüències en època moderna.The thesis analyses the representations of the catalan Dominican Raymond of Penafort (c.1185-1275). Raymond was probably the most famous and respected jurist in canon law of his time. After occupying the Chair of canon law at the University of Bologna, he received the Dominican habit in Barcelona in 1222, and begun a promising career inside the Order of Preachers, that reached the nomination as Great Master in 1239. During those years, Raymond also became a famous writer after his Summa de casibus poenitentiae, a book of cases for confessors. Knowing Raymond's reputation in the juridical sciences, Gregory IX appointed him chaplain and grand penitentiary, and also commissioned him the compilation of the Decretales, the most important collection of canon laws approved officially in 1234, that became a Standard until 1917. After Raymond’s death in the convent of Santa Caterina of Barcelona, his tomb was the scenario of different miraculous healings attributed to the friar’s intercession. This fact attracted many pilgrims and encouraged his brothers to begin a canonization process to ascend Raymond to the glory of the altars. The main objective of the thesis is the study of Raymond’s representations as confluence between art, sanctity and devotion in the modern era. Although the work is chronologically focused in the seventeenth and eighteenth centuries, in first instance are closely studied the medieval representations of the friar, in order to observe in a wide and transverse view the genesis, evolution and variants experienced on the iconography of the friar before and after his canonization, held in Rome in 1601.
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Debernardi, Lea. "Il fons pietatis e la fontana di giovinezza : iconografia religiosa e temi profani fra tardo Medioevo e prima Età moderna." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP050.
Full textAbstract:
L’allégorie du fons pietatis, représentant une fontaine qui recueille le sang du Christ, apparaît dans l’art allemand, français et flamand vers le milieu du XVe siècle. Bien que plusieurs fois examinés par les historiens de l’art, l’origine et le développement de cette image continuent de susciter plusieurs questions. La ressemblance des représentations du fons pietatis avec celles de la fontaine de jouvence, thème considéré comme appartenant au domaine exclusif de l’art profane, interroge notamment les spécialistes. Afin d’éclairer les rapports entre ces deux images, l’analyse proposée dans ce travail croise l’histoire du fons pietatis avec celle de la fontaine de jouvence, en examinant l’usage et l’évolution de ces deux thèmes dans l’art et la littérature de la fin du Moyen Âge et du début de l’époque moderne. Il est ainsi possible de préciser la place de la fontaine de jouvence dans le réseau de références visuelles et littéraires qui ont marqué le développement de l’iconographie du fons pietatis. L’étude de ces images permet aussi de réfléchir sur les processus de création de nouvelles allégories religieuses apparues à la fin du Moyen Âge, aussi bien que sur l’évolution des catégories d’« art sacré » et d’« art profane »Around the middle of the 15th century, an allegorical image known as the Fons Pietatis, representing a fountain filled by the blood of Christ, appeared in German, French and Flemish art. Despite having been repeatedly scrutinized by art historians, the origin and the development of this iconography still remain somewhat unclear. Scholars have been particularly puzzled by the close resemblance between representations of the Fons Pietatis and of the Fountain of Youth, an iconographical theme usually ascribed to the realm of secular art. In order to shed light on the relationship between these images, my thesis jointly examines the history of the Fons Pietatis and that of the Fountain of Youth, reconstructing the usage and the evolution of both these themes in late medieval and early modern art and literature. My aim, through this approach, is to achieve a better understanding of the place occupied by the Fountain of Youth in the network of visual and textual references that shaped the iconography of the Fons Pietatis. At the same time, my study offers an insight into the processes that guided the creation of late medieval religious allegories, as well as into the changing definitions of “sacred” and “secular art”
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Heussler, Carla. "De cruce Christi : Kreuzauffindung und Kreuzerhöhung : Funktionswandel und Historisierung in nachtridentinischer Zeit /." Paderborn [u.a.] : Schöningh, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2753288&prov=M&dok_var=1&dok_ext=htm.
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Bussey, M. P. "Wilderness." Thesis, View thesis, 1999. http://handle.uws.edu.au:8081/1959.7/665.
Full textAbstract:
This thesis explores the search for the sublime in a contemporary context. The 'Wilderness' can be viewed as a metaphysical space which can only be circumscribed. The dust storms of the Australian continent provides the space where in this experience is located, metaphorically. If the perceptions of reality are to be seen as filtered through the experiences and conditions of the human spirit, the sites or 'Stations' as the author has called them layer and reveal a personal reflection on the timelessness and commonality of the human condition. Space and time seem to collapse folding over and into itself, with a layering of memories and senses. Growing up in the Mallee in Victoria the author's formative years were shaped particularly by the land and the elements. In these works, the sense of identity is enveloped into a rather cosmic sense of being, when the author became inseparable from the red earth, its duststorms, the sense of space and the feeling of isolation. The most constant experience is that of the sense of interconnectedness and of being able to reach down and stroke the land from a distant vantage point. Consequently, the spiritual found in nature has been a re-occurring motif in the author's artistic practice. The location of the duststorm entitled 'God's Breath', is in flying over Adelaide, towards the Mallee. The grid indicates the impositions of perception which is projected on the land by the viewer, often from a cultural or political viewpoint. In this case the author's perception is influenced by the auto-biographical gaze and the duststorm itself becomes a metaphor for memory and interiority. The medium of wax as a preserving substance is used in the artworks, however this can be seen as being an agent of change, able to re-define it's form according to environmental conditions. The land as 'Self' or 'Mother' is not a constant location, but as in the 'Wilderness' can be seen as a spiritual and/or psychological space, a multi-dimensional filter for the senses and the mind, wherein the spirit can be expanded and be still in it's receptiveness. The four wax rectangles are representative of a duststorm, as seen from the interior perspective of the sensory. These works suggest a multitudinal level of experiences, not necessarily definable but open ended in concept. The void as a creative fullness nurtures the more transient moments of the sensory and temporal. From scarification and pain, through breath and loss, the journey through the wilderness results in a melodic tonal experience, indicative of memory, place and identity
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
Full textAbstract:
Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Dobre, Emanuel. "L'icône, porteuse d'Évangile : étude comparative de la portée de l'icône en théologie orthodoxe et de l'Écriture Sainte en théologie occidentale." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAK019.
Full textAbstract:
Ce travail propose une présentation de l’icône orthodoxe à partir de la notion d’« Évangile ». En analysant la portée détenue par l’Écriture Sainte en théologie occidentale, il a été possible de présenter l’Évangile comme la Bonne Nouvelle du salut réalisé par le Christ. L’Évangile se donne aux humains dans leur existence terrestre par diverses médiations prises du monde et qui deviennent porteuses de grâce dans leur corporéité même. L’icône est décrite comme porteuse d’Évangile en analogie avec le rôle et la place accordés à l’Écriture Sainte dans différentes traditions chrétiennes. L’icône et l’Écriture sont des formes de parole et peuvent être reconnues, dans la foi, comme des formes de la Parole de Dieu. Outre le fait d’être vecteurs de grâce, d’autres traits rapprochent l’icône et l’Écriture : la corporéité, une note de relativité, l’annonce correcte seulement dans un contexte ecclésial, le témoignage de l’événement de l’Incarnation auquel elles renvoient et dont elles dépendentThis work provides an approach to the icon starting from the notion of « Gospel ». An analysis of the importance of the Holy Scripture in the western theology allows us to present the Gospel as the Good News of the salvation accomplished by Christ for the humankind. The Gospel is conveyed to the human being in his daily life through various means. These means are mediations taken from the creation and they become grace bearers through their very corporeity. Following an analogy with the role and the importance given to the Holy Scripture throughout different Christian traditions, the icon is described as a « Gospel bearer ». The icon and the Scripture are both a form of the word and they can both be recognized, through faith, as a form of the Word of God. Besides being vectors of grace, the icon and the Scripture share other common characteristics: the corporeity, some amount of relativity, the correct proclamation in the church only, and the witness of the event of the Incarnation
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Malečková, Kateřina. "Architektonická studie sakrálního objektu Brno - Líšeň." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414268.
Full textAbstract:
The topic of this diploma thesis is design processing of a new sacral building in Brno-Líšeň district. It is a plot in the middle of a panel building between the health centre building and the building of the Salesian Youth Center, so-called Salesko. The Salesian community, which will use the building the most, has been waiting for the realization of this building for many years. The key theme is the creation of spaces enabling people to meet for worship, celebrations and social events. The design is processed by two interconnected operations - the building of the Church of the Descent of the Holy Spirit and the building of clergy house. The basic composition consists of three cubic masses - the entrance, the main liturgical space and the clergy house. The bell tower is the height dominant feature which indicates the sacral function of the building. The project consists a set of buildings with two above-ground floors and a basement in the entrance part of the church. This project also mentions the solution of open spaces around the plot and their conversion into quality public areas, marginally. The sacral space is to become a place that welcomes and takes in its visitors and gives them the feeling of safety. Inside this building, people will find peace, support and undestarstanding, so they may leave with the feeling of being a better person.
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Tami, Alan. "L'art de la guerre au temps des croisades (491/1098 - 589/1193) : Du théocentrisme irrationnel aux influences mutuelles et adaptations pragmatiques dans le domaine militaire." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00735126.
Full textAbstract:
Jusqu'aux croisades, les rencontres entre l'Orient musulman et l'Occident chrétien avaient été réduites à des échanges commerciaux anecdotiques ainsi qu'à de rares pèlerinages en Terre sainte. Et alors que les musulmans méprisaient souverainement des peuplades septentrionales vouées, selon eux, à l'égarement et à l'ignorance, les Occidentaux avaient fait de la jeune religion orientale et de ses sectateurs l'Antéchrist de leur eschatologie apocalyptique. Tous étaient imprégnés d'un théocentrisme intransigeant ne laissant aucune place à un Autre ignoré ou abhorré, si ce n'est celle de l'Ennemi. Il fallut donc une guerre généralisée entre ces deux ensembles civilisationnels aux antipodes pour qu'enfin ils se rencontrent et se côtoient durablement, jusqu'à estomper en partie des préjugés et des images déformées longtemps entretenus. Paradoxalement, la guerre et ses principales émanations (la stratégie, la tactique, l'armement et l'architecture militaire) allaient être les causes d'une meilleure connaissance mutuelle. En cherchant à répondre au mieux au défi militaire lancé par l'adversaire, chacun fut contraint de scruter les intentions, la mentalité, et surtout l'art de la guerre de l'autre ; ainsi, on n'hésita pas à en copier les concepts et les procédés jugés profitables, de même que les deux camps firent montre, dans ce domaine, d'une adaptabilité multiforme exceptionnelle. En somme, loin de la vision répandue présentant les croisades comme des conflits séculaires purement religieux ayant opposé de manière manichéenne deux conceptions monolithiques et hermétiques du monde et de la guerre, il semblerait en réalité que la Syrie du XIIe siècle fut d'abord un creuset d'échanges dans lequel le maître mot était "pragmatisme".
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Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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Allen, Nicholas Peter Legh. "The methods and techniques employed in the manufacture of the Shroud of Turin." Thesis, 1993. http://hdl.handle.net/10413/8589.
Full textAbstract:
The main objective of the inquiry is to deduce the methods and techniques that were
employed in the manufacture of the historically unique Shroud of Turin. By taking a more
or less phenomenologically based stance, it is argued that this image could only have been
produced by employing a photographically related technique. To this end, an examination
is made of both the nature of the image, as well as all relevant documented evidence which
supports the above stated hypothesis. In addition, practical experiments are conducted
which employ the kinds of technology and apparatus known to have existed c 1250-1357
AD. The results of this investigation strongly support the notion that persons living c 1250-
1357 AD did in fact have the necessary technology to manufacture what could be termed
a negative solargraphic image of a human subject.Thesis (Ph.D.)-University of Durban-Westville, 1993.
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Boivin, Katherine Morris. "Holy Blood, Holy Cross: Architecture and Devotion in the Parochial Complex of Rothenburg ob der Tauber." Thesis, 2013. https://doi.org/10.7916/D8JH3KJH.
Full textAbstract:
This dissertation explores the spatiality of the parochial complex in Rothenburg ob der Tauber and the dynamic interrelation of architecture, figural art, and devotional practice. Among the spaces of the parish church of St. Jakob, the neighboring charnel-house chapel of St. Michael, and the urban cemetery between unfolded an intricate thematic program whose leitmotif was a miracle-working blood relic. Scholars are beginning to reassess the role of architecture in structuring and creating meaning among the seemingly disparate elements of medieval multi-media church programs. This meaning was not only contained in individual artworks but was also expressed in the interrelation among different pieces. The parochial complex of Rothenburg ob der Tauber was bookended by two elevated chapels: the pilgrimage chapel of the west end of St. Jakob contained the altarpiece of the Holy Blood by Tilman Riemenschneider; the free-standing octagonal cemetery chapel of St. Michael housed a Riemenschneider altarpiece of the Holy Cross. Between these spaces stretched an intricate network of associations that promised the faithful resurrection and salvation. Chapter one considers the potential for patrons to convey meaning through the choice of recognizable architectural models. Chapter two studies the power of local campaigns and spatial compositions to stage pilgrimage and to promise divine protection to the faithful. Chapter three demonstrates the ability of architecture to draw simultaneously on local referents and on distant prototypes in order to communicate ideas. Finally, chapter four explores the interconnections among the spaces of an architectural complex and among the elements of its multi-media figural program.
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Robbins, Dylon Lamar. "Elegua's Surrealist shroud: Surrealism and Afro-Cubanism in the Negrista works of Alejo Carpentier and Wifredo Lam." Thesis, 2003. http://hdl.handle.net/1911/17618.
Full textAbstract:
The Cuban writer Alejo Carpentier (1904--1980) and painter Wifredo Lam (1902--1982) draw upon Surrealism in their representations of an Afro-Cuban religiosity in their early Negrista works. Through a comparison of Carpentier's ¡Ecue-Yamba-O! (1933) and "Historia de lunas" (1933) with a selection of Lam's works of the 1940's---"The Jungle" (1942), "The Eternal Presence" (1945), "The Wedding" (1947), and "The Visitor" (1950)---this analysis uncovers how both writer and artist use collage and a surrealist mood in representing certain aspects of Afro-Cuban religiosity, specifically Abacua ceremonial incantations, Itutu, and trance or possession. This thesis also attempts to unmask the limitations of these techniques as a representational paradigm in limning the Afro-Cuban.
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Dodson, Alexandra Tyler. "Mount Carmel in the Commune: Promoting the Holy Land in Central Italy in the 13th and 14th Centuries." Diss., 2016. http://hdl.handle.net/10161/12276.
Full textAbstract:
The Carmelite friars were the last of the major mendicant orders to be established in Italy. Originally an eremitical order, they arrived from the Holy Land in the 1240s, decades after other mendicant orders, such as the Franciscans and Dominicans, had constructed churches and cultivated patrons in the burgeoning urban centers of central Italy. In a religious market already saturated with friars, the Carmelites distinguished themselves by promoting their Holy Land provenance, eremitical values, and by developing an institutional history claiming to be descendants of the Old Testament prophet Elijah. By the end of the 13th century the order had constructed thriving churches and convents and leveraged itself into a prominent position in the religious community. My dissertation analyzes these early Carmelite churches and convents, as well as the friars’ interactions with patrons, civic governments, and the urban space they occupied. Through three primary case studies – the churches and convents of Pisa, Siena and Florence – I examine the Carmelites’ approach to art, architecture, and urban space as the order transformed its mission from one of solitary prayer to one of active ministry.
My central questions are these: To what degree did the Carmelites’ Holy Land provenance inform the art and architecture they created for their central Italian churches? And to what degree was their visual culture instead a reflection of the mendicant norms of the time?
I have sought to analyze the Carmelites at the institutional level, to determine how the order viewed itself and how it wanted its legacy to develop. I then seek to determine how and if the institutional model was utilized in the artistic and architectural production of the individual convents. The understanding of Carmelite art as a promotional tool for the identity of the order is not a new one, however my work is the first to consider deeply the order’s architectural aspirations. I also consider the order’s relationships with its de facto founding saint, the prophet Elijah, and its patron, the Virgin Mary, in a more comprehensive manner that situates the resultant visual culture into the contemporary theological and historical contexts.
Dissertation
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Steyn, Raita. "Christian divine, holy and saintly protection of African rulers in the Byzantine ‘Coptic’ iconographic tradition." Thesis, 2014. http://hdl.handle.net/10210/12506.
Full textAbstract:
D.Litt. et Phil. (Greek)This thesis deals with the Christian divine, holy and saintly protection of African rulers in the Afro-Byzantine ‘Coptic’ (mainly Nubian and Ethiopian) iconographic tradition. The term ‘icon’ is used in its Byzantine Orthodox meaning as “a theological art picture; a religious, sacred image”, according to the theological and artistic Byzantine prescriptions.1 The term is also applied to frescos, murals, mosaics, larger wooden panels, illustrations in manuscripts and scrolls and smaller items such as protective amulets and charms, depicting a Christian holy representation. The iconographic themes, representing authority and its preservation and protection will be discussed, analysed and examined, the two coefficients being authority and protection of royals and their deputies and officials (i.e. the ‘protected’) on the one hand, and on the other hand Christ, the Holy Virgin, angels, military and non-military saints, supernatural and holy beings (i.e. the ‘protectors’). Firstly, a historical overview of the Byzantine and Afro-Byzantine Orthodox society in terms of religious, social, cultural and political influences is presented and the importance of Orthodox iconography and hagiography and the transformation of local Afro-Byzantine themes are analysed. As such, once the conversion from paganism to Christianity took place in Africa, influences of the Byzantine iconography and hagiography were transformed and integrated with local African Orthodox themes. Byzantine ideology and political theory as well as their relevance for the Coptic-Egyptian, Nubian and Ethiopian context have been discussed, while the artistic and symbolic iconographic representations of the Byzantine (and Medieval Afro-Byzantine) periods...
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Kruger, Marieke. "A holy war : redemption versus damnation as spiritual metaphors in a selected body of work." Thesis, 2014. http://hdl.handle.net/10210/10818.
Full textAbstract:
M.A. (Fine Arts)The end of this millennium presents the human race with feelings of anxiety, fear and even despair. With the rapidly growing scientific and technological development we may feel increasingly threatened as individuals. Both the value of life and it's mysterious essence are placed in question (e.g. issues of abortion and cloning). Without a spiritual dimension to our lives, we proceed into the future with uncertainty. Suzi Gablik (1991: 3) sets out the problem when she states: The question is no longer how did we get here, and why? but where can we possibly go, and how? We live in a society that has drastically narrowed our sensibility to moral and spiritual issues, the problem we face is how to deal with a belief structure that has blocked both psychological and spiritual development. This thesis will argue that the desire for a spiritual dimension to life is not redundant in the technological age to come, instead it becomes ever more important for our psychological and spiritual health in an age where "the head rules the heart". My work is a plea for us to return to matters ofthe heart, the primal things that makes man what he is - spirit, soul and body. These three elements are linked inextricably. Without the one the other cannot exist and we will be handicapped as human beings. I am also questioning the focus ofour society, which seems reduced to physical things (temporal), rather than spiritual things (eternal). In my plea for us to return to matters pertaining to the spirit, I claim that God is spirit (John 4:24) and that things ofthe spirit can be spiritually discerned and not solely via the mind. The question we may ask is: has the world of the spirit become inaccessible because the mind is given pre-eminence in our society? Have we then as a result arrived at a time of spiritual bankruptcy where the spirit of man has gone into some kind of dormancy or hibernation awaiting a better season in which to come forth? In this I associate myself with Anselm Kiefer. Mark Rosenthal (1987: 26) quotes Kiefer thus: I think a great deal about religion because science provides me with no answers.
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Morris, April Jehan. "Imag[in]ing the East : visualizing the threat of Islam and the desire for the Holy Land in twelfth-century Aquitaine." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5449.
Full textAbstract:
Epic dichotomies – threat/desire, Islam/Christianity, Orient/Occident, fear/lust, self/other – have fundamentally shaped the conceptualizations, images, and imaginings of the interaction between East and West. The Holy Land was the locus of both sensations in the twelfth-century West. Islam, arisen from the Arabian Peninsula and spreading steadily, embodied the strongest threat to western Christendom that it had yet faced, both militarily and theologically. The vividly imagined “East,” particularly Jerusalem, was the locus of spiritual and material desire. These intertwined notions underlie the ideological, theological, and historical perceptions of the Crusades, in their own time as today.
This project seeks to explore the dual image of the East in the twelfth-century West through the prime dichotomy that has, both historically and presently, shaped Western perceptions of the dar-al-Islam: the East as at once threat and object or source of desire. Both this dichotomy and the examinations of individual sites and objects in which it is expressed nuance and challenge earlier scholarly assertions regarding visual representations of Crusading, and posit new interpretations of iconographic traditions and their semiotic functions in the twelfth-century Aquitaine.
This dissertation is arranged as a series of investigative essays into monuments and objects that express the presentation and development of these divergent ideas in the twelfth-century Aquitaine. The first half of is comprised of three interrelated examinations of material objects that illuminate Western concepts of Islam and Muslims. Various iconographic traditions, I argue, were created and modified to express the mechanisms by which Christendom attempted to define, and respond to, these evident threats to self and territory. The second half of this project focuses on the material manifestations of desire, primarily through the deployment of Orientalized architectural forms and the utilization of relics and objects related to the East. Although these trends, as my conclusion discusses, reached their true apex in the decades after the loss of Jerusalem in 1187, these early examples typify the range of cultural notions centered on the desire to possess and control the sanctity of the Holy Land.text
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Truter, Carmen Estelle. "Images in, through and for "The W/Word" : a revisioning of Christian art." Diss., 2007. http://hdl.handle.net/10500/1939.
Full textAbstract:
During the premodern era, images corresponded to the doctrines of ”The
Word”, but in contemporary society this relationship is open and does not
correspond to the divine Word. Because of our perceived, postmodern
inability to respond to ancient Christian symbols, there is a need to revision
these symbols and Christian spirituality. The result of such a
revisioning would include an ”opening up” of ”The Word” and of traditional,
worn symbols which have lost vitality in this milieu. Art produced with this
in mind needs to make ”The Word” more currently accessible and relevant.
Further, this revisioning would add significance and enhance the possibility
of resurrecting language dealing with ”The Word”. In the process of
revitalising old Christian imagery and language, I aim to show that the
primary role of contemporary Christian art is to function metaphorically.
Finally, I argue that Christian images can take on significance as
contemporary images.Art History Visual Arts and Musicology
M.A. (Visual Arts)
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李佩珊. "The Application of Art Exhibition Multimedia CD-ROM in Teaching Visual Arts at Elementary School Level：Using【Journey of Holy India】as an Example." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/30028109667840131391.
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碩士臺北市立師範學院
視覺藝術研究所
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Given globalization of technology, new instructional models have been continuingly innovated and renovated. With help from technology media, this study investigated a type of interaction model between museum, instructors, and learners: use of the application of art exhibition multimedia CD-ROM published by National Museum of History in teaching visual arts at elementary school level. Through the actual teaching progress and review of the instructor, as well as the response from the learners, the application of this resource answered the questions encountered by elementary schools in visual arts teaching and directed an approach to amendment. Based on the research results, the application of art exhibition multimedia CD-ROM in teaching visual arts at elementary school level showed its positive significance to the museum, instructors, and learners. However, such resource was not produced for teaching purposes. Thus, use of the resource in teaching should focus on the connection between the resource and the daily life of the learners, and convert the contents to those that suit the learners. Moreover, the instructors should utilize the multimedia characteristic of the resource and present it flexibly in teaching by arranging supplementary materials, instead of being confined to the given format. When instructors used this resource in teaching, the learners not only were impressed by the artistic style of the artwork but also enjoyed the teaching approach, especially the presentation of animation and interaction interfaces. Furthermore, such teaching approach could enhance learners’ level of expectation in art appreciation in the museum. Therefore, through appropriate transformation and application of the instructor, the application of art exhibition multimedia CD-ROM would be accepted and enjoyed by the learners. However, such resource should improve on its artistic and educational aspects to enhance the significance and value of visual arts instruction in elementary school.
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Hilsdale, Cecily J. "Diplomacy by design : rhetorical strategies of the Byzantine gift /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088743.
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Peneda, Ana Maria Rodrigues. "Autenticação de Obras de Arte por Microscopia de Raman." Master's thesis, 2017. http://hdl.handle.net/10316/81751.
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Dissertação de Mestrado em Química Forense apresentada à Faculdade de Ciências e TecnologiaAuthentication of works of art is a relevant subject, not only in artistic context, but also in forensic context. The growing need for clarification of legal issues related to violation, forging, theft and trafficking of items that belong to the historical and cultural heritage, infers the development of studies that allow rigorous and non-destructive evaluations of artistic pieces.In this master's thesis, several pieces of the jewelry’s collections of the Museu Nacional Machado de Castro (highlighting the "Treasure of the Holy Queen") were studied, with the purpose of authenticating and characterizing them. For this, the components of these art pieces (pigments, precious gemstones and enamels) were analyzed by Raman microscopy.The most relevant pieces in this study belong to the well known "Treasure of the Holy Queen". It is a collection of pieces of jewellery that belonged to Queen Elizabeth, wife of D. Diniz. These were some of the pieces that she left in testament to the Monastery of Santa Clara in Coimbra. In 1912, they were integrated in the collections of the National Museum Machado de Castro. The treasury has aroused the interest of the public and historians, having already been the subject of studies and references in specialized bibliography. However, when it comes to chemical analyzes, this is a pioneering study.The characterization was achieved by obtaining Raman spectra for each type of material analyzed, comparing them with spectra present in the literature and reliable databases. Chronological characterization was also possible, since the use of some materials in the manufacturing of works of art is very particular for certain historical periods.
A autenticação de obras de arte é um tema relevante, não só em contexto artístico, como também em contexto forense. A crescente necessidade de esclarecimento de questões legais, relacionadas com violação, contrafação, roubo e tráfico de objetos pertencentes ao património histórico e cultural, implica o desenvolvimento de estudos que possibilitem avaliações rigorosas e não destrutivas de peças artísticas.Nesta tese de mestrado procedeu-se ao estudo de diversas peças das coleções de ourivesaria do Museu Nacional Machado de Castro (destacando-se o “Tesouro da Rainha Santa), com a finalidade de as autenticar e caracterizar. Para tal, procedeu-se à análise de componentes das peças (pigmentos, pedras preciosas e esmaltes) por Microscopia de Raman.As peças com maior relevância neste estudo pertencem ao conhecido "Tesouro da Rainha Santa". É um conjunto de peças de ourivesaria que pertenceram à Rainha Dona Isabel, esposa de D. Diniz. Estas foram algumas das peças por ela deixadas em testamento ao Mosteiro de Santa Clara de Coimbra. Em 1912, foram integradas nas colecções do Museu Nacional Machado de Castro. O tesouro tem despertado o interesse do público e de historiadores, tendo sido já alvo de estudos e referências em bibliografia especializada. No entanto, a nível de análises químicas, este é um estudo pioneiro.A caracterização foi conseguida através da obtenção de espectros de Raman para cada tipo de material analisado, comparando-os com espectros presentes na literatura e bases de dados fidedignas. A caracterização cronológica foi também possível, uma vez que a utilização de alguns materiais na produção de obras de arte é muito característica para determinados períodos históricos.
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Šuková, Petra. "Islámské umění." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-390559.
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TITLE: Islamic Art AUTHOR: Petra Šuková, Bc. DEPARTMENT: Department of Art Education SUPERVISOR: Viktor Čech, Mgr. ABSTRACT: Object of this thesis is an investigation of islamic art in a context of islamic doctrine with stress on elements which islam has in common with the jewish-christian culture, which was an inspiration for islam as well. The thesis compares certain trends and characters in these monoteistic religions with reference to mutual influences between western and eastern culture, which have been continuing even nowadays. The main object of interest is a human body and its carnality as well as the stereotypes we have about this topic. These stereotypes and prejudices towards islam and islamic art are also the issue for the practical and didactic part, when pupils will have an opportunity to try ornamental and nonfigurative way of depiction as well as a figurative and contemporary islamic art influenced by the western culture. KEYWORDS: islam, nonfigurative art, body, holy books, taboo, transcendence, mysticism, christianity, judaism, identity, stereotype, contemporary art, islamophobia
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Fetté, Mirka Campbell. "Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3218.
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Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on the Long Turkish War. Von Aachen made the Allegories between 1604 and 1606 and Rudolf II kept them bound in a red book in his Kunstkammer. This series selects events and battles from the Long War against the Ottoman Empire, 1593-1606, to create a flattering propagandistic image of the emperor in order to strengthen his support. Rudolf’s brother, Archduke Matthias of Austria, began plotting against the emperor beginning in 1600. By 1606 he was actively usurping Rudolf’s political power. I examine von Aachen’s visual description of imperial power, the alternate history the Allegories present, and the ways they engage with Neo-Platonic theories to convey validity to viewers.
In my thesis, I outline the events of the Long War in order to compare them to von Aachen’s portrayals and to understand how he restructures chronological history to convey his message about Rudolf’s rulership. I briefly analyze each painting but I focus primarily on the eighth scene, the Conquest of Székesfehérvár. Sultan Mehmed III sits opposite Rudolf II in dignified defeat in this painting. I investigate the visual treatment of the sultan through the historical interactions between the Ottoman and Holy Roman Empires and propose the political function served by depicting him as a noble enemy. I finally discuss the way von Aachen uses symbols and allegory to convey a potent message and convince the viewer of its validity. Ultimately, these works should be seen as political propaganda used to combat Rudolf’s brother Archduke Matthias’ political takeover and not as Rudolf’s fantastical escapism from his losing battle against his brother.text
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Juřinová, Šárka. "Lidová zbožnost pozdního středověku a novověku v odrazu hmotné kultury (na příkladu drobné keramické plastiky)." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-346733.
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Folk religiosity during High Middle Ages and Early Modern times as reflected in material culture (the example of small ceramic sculpture) This work focuses on study of religious practice and urban everyday life of urban folk groups in Prague Towns from High Middle Ages till Early Modern times. The most common archaeological artifacts reflecting religious practice are small clay figurines found both in urban and in rural environment. These figurines made of fired clay depict in most cases Madonna with Christ-child and various saints, nevertheless profane figurines and various zoomorphic artifacts can be found too. This work is focused mainly on findings of clay figurines obtained during the large archeological excavation on Republic Square in Prague, which offered a unique collection of artifacts dated from 1250 to 1600. Analogies from the Central Europe will be considered in the process of evaluation of the assemblage mentioned above. It is not known exactly what the purpose of these artifacts was and it is still a subject of discussion, into which we will try to bring some new light. Right iconographic interpretation requires a comparation with some other objects of folk religiosity and urban everyday life (such as medallions and other small holy objects, pilgrim signs, pilgrimage pictures,...
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Dussoulier, Anne. "Les portraits de famille vénitiens au 16e siècle : du profane au religieux." Thèse, 2016. http://hdl.handle.net/1866/18742.
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Le 16e siècle est une époque de changement où la famille se restreint et devient une projection d’idéal, symbolisant aspirations dynastiques et prestige pour les familles vénitiennes. Parallèlement dans l’iconographie religieuse, la Sainte Famille s’impose comme motif iconographique autour d’une cellule familiale succincte constituée de Marie, de Joseph et de l’Enfant Jésus. La famille et la Sainte Famille deviennent des sujets de choix dans la peinture, et ce tout particulièrement dans la production artistique vénitienne. La valorisation visuelle de la femme est un point commun entre ces représentations, aspect plutôt surprenant si l’on pense à la société et la religion catholique qui sont éminemment patriarcales. Le présent travail s’intéresse à cette position féminine névralgique et au constat que l’on en établit, et s’appuie sur un corpus d’œuvres vénitiennes du 16e siècle.The 16th century was a time of change where the family decreases and becomes an ideal projection, symbolizing the dynastic aspirations and prestige to the Venetian families. Meanwhile, in religious iconography the Holy Family stands out as ideal iconographic motif, around a brief family unit constituted by Mary, Joseph and Jesus. The family and the Holy Family became prime subject in painting, and especially in Venetian artistic production. The visual promotion of the women is common point between these representations, aspect rather surprising if we think of the society and the catholic religion, which are highly patriarchal. This work is interested in this feminine position and what can be deduct from it, and lean on a corpus of Venetian works of the 16th century.
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Sabourin, Nicole. "La Sainte face de Laon." Thèse, 2017. http://hdl.handle.net/1866/20181.
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Haskell, Caitlin Welsh. "Henri Rousseau, 1908 and after : the corpus, criticism, and history of a painter without a problem." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5135.
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This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art.text