Academic literature on the topic 'Iconographic analysis'
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Journal articles on the topic "Iconographic analysis"
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Pinciroli Vago, Nicolò Oreste Pinciroli, Federico Milani, Piero Fraternali, and Ricardo da Silva Torres. "Comparing CAM Algorithms for the Identification of Salient Image Features in Iconography Artwork Analysis." Journal of Imaging 7, no. 7 (June 29, 2021): 106. http://dx.doi.org/10.3390/jimaging7070106.
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Iconography studies the visual content of artworks by considering the themes portrayed in them and their representation. Computer Vision has been used to identify iconographic subjects in paintings and Convolutional Neural Networks enabled the effective classification of characters in Christian art paintings. However, it still has to be demonstrated if the classification results obtained by CNNs rely on the same iconographic properties that human experts exploit when studying iconography and if the architecture of a classifier trained on whole artwork images can be exploited to support the much harder task of object detection. A suitable approach for exposing the process of classification by neural models relies on Class Activation Maps, which emphasize the areas of an image contributing the most to the classification. This work compares state-of-the-art algorithms (CAM, Grad-CAM, Grad-CAM++, and Smooth Grad-CAM++) in terms of their capacity of identifying the iconographic attributes that determine the classification of characters in Christian art paintings. Quantitative and qualitative analyses show that Grad-CAM, Grad-CAM++, and Smooth Grad-CAM++ have similar performances while CAM has lower efficacy. Smooth Grad-CAM++ isolates multiple disconnected image regions that identify small iconographic symbols well. Grad-CAM produces wider and more contiguous areas that cover large iconographic symbols better. The salient image areas computed by the CAM algorithms have been used to estimate object-level bounding boxes and a quantitative analysis shows that the boxes estimated with Grad-CAM reach 55% average IoU, 61% GT-known localization and 31% mAP. The obtained results are a step towards the computer-aided study of the variations of iconographic elements positioning and mutual relations in artworks and open the way to the automatic creation of bounding boxes for training detectors of iconographic symbols in Christian art images.
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Makhonina, Valeria A. "Sketch 'God the Father beholding dead Christ' of Vladimir L. Borovikovsky as a synthesis of the western European and the Orthodox tradition." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 72–83. http://dx.doi.org/10.36340/2071-6818-2022-18-1-72-83.
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Vladimir Lukich Borovikovsky, little Russian icon painter and St. Petersburg portrait painter, combined western European painting language and the Orthodox religion in his creativity. The sources of the painter's susceptibility to western European influence lie in his Ukrainian origin — the atmosphere of active interaction of Orthodox and Catholic cultures developed in Little Russia of XVIII. At XVIII—early XIX century icon and temple painting was approaching secular art and came under influence of European baroque and academism. Religious painting, that is the subject of the study, occupied an important place in the creativity of the painter. Master's icons and pictures demonstrate nontrivial iconographic, conceptual and dogmatic solutions. The sketch 'God the Father beholding dead Christ' from collection of the State Tretyakov Gallery is example of an original thought of the artist, who based it on the western European composition scheme, but gave it new meaning. The study theme is exploring features of interpretation by V. Borovikovsky of Catholic the Holy Trinity iconography. In order to identify specific motifs and ideas borrowed from Western European art and the Orthodox iconography of the Otechestvo (the Fatherland), which influenced the composition of the sketch, a comparative iconographic and stylistic analysis of works with similar iconography was carried out: with a fresco from the church in Marino (Rome) attributed to Guidoreni, and a painting by P.P. Rubens 'The Holy Trinity'. The iconographic analysis showed connection between of the sketch and wester European scheme 'God the Father contemplating the dead Christ', which goes back to iconographies 'God the Father holding a Crucifix' and Pieta, and to orthodox iconography Otechestvo. V. Borovikovsky rethinks traditional motifs, typical for the European painting (motifs of parental grief and reminder of sinfulness) and for the Orthodox icon painting (motifs of triumph over death). Stylistic analysis showed that the master formulates his own interpretation of the images of God the Father and God the Son, unifying both the Orthodox and the western European approaches. V. Borovikovsky borrows reception of relationship the Sabaoth and Christ as loving the Father and the Son, but doesn't borrow tragic reception of the plot, replacing it with the idea of the comprehensive divine love and the triumph over death. Thus, V. Borovikovsky combines icon symbolism and immediacy of realistic painting.
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Ryś, Agnieszka. "Four encolpia from the monastery complex in Naqlun, Egypt: preliminary iconographic study." Polish Archaeology in the Mediterranean 26, no. 1 (July 9, 2018): 787–94. http://dx.doi.org/10.5604/01.3001.0012.1813.
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The article discusses the iconography of the four cross-shaped encolpia made of lead that were discovered in a monastery complex in Naqlun, Egypt, in 2011. The pendants were found together, apparently mislaid in the northeastern corner of the main room of building K.1 (Northern Building). The iconographic analysis of the decorative elements on these encolpia is based on a comparison with other objects of this type coming from a Byzantine culture context. The dating based on the iconographic analysis is compatible with the archaeological context placing the deposition before the end of the 10th century
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Olianina, Svitlana. "A Spatial Iconographic Program of Ukrainian Baroque Iconostasis." Art Research of Ukraine, no. 21 (November 29, 2021): 52–59. http://dx.doi.org/10.31500/2309-8155.21.2021.254672.
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The purpose of this article is analysis of the iconographic programs of iconostasis created in the Baroque period in the main church complexes of Ukraine - St. Sophia of Kyiv and Kyiv Pechersk monastery. It found that the iconostasis of the side altars of St. Sophia and Assumption Cathedrals and the iconostasis of other churches located on the territory of the monasteries had thematic iconographic programs related to the dedication. These thematic programs do not include Deisis compositions and other images necessary for the year-round cycle of divine service. Instead, they are intended for a solemn service on the feast day or in memory of the saint to whom the additional altar is dedicated. Such "specialized" iconographic programs were parts of the iconographic program of the iconostasis of the central altar of the main church. In this carefully planned system of images of the iconostasis of the side altars and other monastic temples interacted in real space, expanding the sacred space of the main church beyond its material boundaries. Reconstruction of this spatial phenomenon explains the fundamental differences between the iconography of the iconostasis of additional altars from the iconographic program, which was to be in each iconostasis.
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Azaglo, Alex Kwasi, Dickson Adom, Joe Adu-Agyem, and Kofi Opoku-Mensah. ""My Sculpture, My Life": An iconographic study of the contemporary Ghanaian sculptor, Isaac Opoku-Mensah." Journal of African History, Culture and Arts 2, no. 1 (January 31, 2022): 1–14. http://dx.doi.org/10.57040/jahca.v2i1.125.
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There is little information on Contemporary Ghanaian artists in the form of literary presentations and documentation. Isaac Opoku-Mensah is one great personality whose contribution to the development of Ghanaian sculpture and the field of bust sculpture deserves to be recognized, celebrated, and studied. This is a biographic study that focuses on his profile and contributions to academia as well as his sculptural art technique. It looks at some of his creative works, the techniques he used, and his influence on his students and the next generation of sculptural artists. The qualitative research design was used to conduct an iconographic analysis of three specific sculptural pieces as part of an empirical artistic study. Research instruments such as in-depth interviews, observation, and photography were utilised to gather the required data for the study. The paper also appreciates Isaac Opoku-Mensah's sculptural pieces through Erwin Panofsky's iconographic analysis, which has three levels: pre-iconographical description, iconographical analysis, and iconological interpretation. The findings among others indicated that there were detailed interpretations of the busts of three murdered Judges, a cocoa farmer, and academic graduands which aimed at comprehending the images’ visual elements and performing a formal analysis of its physical manifestation, followed by an iconographic analysis in which the images were linked to a known story or recognizable character, and finally, an iconological analysis in which the meaning of the artefacts was determined in relation to its social, cultural, and historical contexts.
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Twist, Rebecca L. "Images of the Crowned Buddha along the Silk Road: Iconography and Ideology." Humanities 7, no. 4 (September 21, 2018): 92. http://dx.doi.org/10.3390/h7040092.
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The interpretation of early Buddha images with a crown has long been a source of debate. Many scholars have concluded that the iconography of the crown is intended to denote Śākyamuni as a cakravartin or universal Buddha. A few have suggested it represents a sambhogakāya Buddha in Mahāyāna Buddhism. This art historical and Buddhological study examines the visual record of early crowned Buddhas along the Silk Road, focusing on the iconographic signifiers of the crown, silk items, and ornaments, and interprets them within a broader framework of Buddhist theoretical principals and practice. Not only is this a visual analysis of iconography, it also considers contemporary Buddhist literary evidence that shows the development of the iconography and ideology of the crowned Buddha. As a result of this examination, I propose that the recurring iconographic evidence and the textual evidence underscore the intention to depict a form of sambhogakāya Buddha as an early esoteric meditational construct. Moreover, many Buddhas perform one of the two mudrās that are particular to the esoteric form of Vairocana Buddha. Therefore, the iconography also signifies the ideology of the archetypal Ādi Buddha as an esoteric conception.
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Startsev, Anton Vladimirovich. "Features of the Composition in the Iconography of the Crucifixion on the example of the works of Old Russian iconography of the late XV - early XVI centuries." Культура и искусство, no. 4 (April 2022): 112–40. http://dx.doi.org/10.7256/2454-0625.2022.4.37849.
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The concentration of research attention on the construction of an artistic form is a necessary part of the study of monuments of fine art. This article is devoted to the artistic analysis of the iconography of the Crucifixion by the example of considering several monuments of ancient Russian painting of the late XV - early XVI centuries. The studied paintings are the reference works of the heyday of Russian icon painting art. They are distinguished by the good preservation of the author's pictorial layer, which allows to fully analyze the art form. The fundamentals of the methodology in this study are the historical approach, formal-stylistic and comparative analyses. The article draws attention to the distinctive properties of the composition of the paintings, searches for an iconographic source, analyzes the relationship between changes in composition and semantic content of the painting. Focusing on a certain iconography allows to reveal the character of a particular image, to reveal its artistic uniqueness. With such an integrated approach, it becomes possible to present the interpretation of the plot and the history of the creation of the icon image. Author compares the iconography created within one decade to another, one artistic tradition or school to another. As a result of the research, a specific feature of ancient Russian painting is revealed - following a narrow iconographic tradition or artistic school does not limit the artistic interpretation and independence.
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Curtis, Gerard. "Ford Madox Brown's Work: An Iconographic Analysis." Art Bulletin 74, no. 4 (December 1992): 623. http://dx.doi.org/10.2307/3045914.
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Bilić, Tomislav. "The swan chariot of a solar deity: Greek narratives and prehistoric iconography." Documenta Praehistorica 43 (December 30, 2016): 445–66. http://dx.doi.org/10.4312/dp.43.23.
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Literary testimonies for the Greek concept of Apollo’s swan chariot and the accompanying set of ideas were often discussed alongside some comparable Central and North European iconographic representations. This study approaches the problem by collating, with a help of structural analysis, a number of highly specific complex prehistoric iconographic arrangements (most notably the Dupljaja chariot), which suggest a similar concept was indeed current in the tradition of some European pre-literate societies. The principles employed here in the iconographic analysis of complex symbolic structures, offered a sound methodological basis for comparing literary with iconographic sources. It is concluded that their underlying muthos represents an account of the annual solar movement in terms of anthropomorphic causation.
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Bykovskaya, Aleksandra Viktorovna. "The image of goddess on the throne in the Bosporan coroplast of the archaic and classical periods (VI – IV centuries BC): iconography and sacred meaning." Исторический журнал: научные исследования, no. 3 (March 2021): 36–57. http://dx.doi.org/10.7256/2454-0609.2021.3.35727.
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This article explores the peculiarities of application of compositional pattern of the enthroned goddess in the coroplast of the European part of Bosporus. A number of figurines of the East Crimean Historical and Cultural Museum-Reserve of such iconography is published for the first time, including the discarded coroplast products dating back to the IV century BC. The article reviews the emergence of iconography, its origins in the Neolithic cultures of Anatolia, and proliferation. The following sections are dedicated to the analysis of Bosporan terracotta of the enthroned goddess of the archaic and classical periods. The research methodology employs iconographic and semantic analysis, which implies the interpretation of religious representations reflected in the image of deity. A peculiarity Bosporan coroplast lies in popularity of the composition of enthroned goddess from the archaic period, which indicates a special role of the high status goddesses with a variety of features, such as Demeter, Aphrodite, Artemis, and Hecate in the beliefs of Bosporans. Terracotta complexes of the classical period demonstrate diversity of this iconographic type, as well as mark the emergence of characteristic attributes that allow identifying the image of deity. Coroplast data testify to the growing popularity of the goddess of Phrygian origin Cybele in the IV century BC. A hypothesis is advanced on the existence of a prototype of the number of figurines – the local cult statue of Cybele.
Dissertations / Theses on the topic "Iconographic analysis"
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Pluta, Larissa. "Face Value: An Iconographic Analysis of the Corbels of Chartres Cathedral." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216674.
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Art HistoryM.A.
The numerous figurated corbels of Chartres Cathedral were inscribed with semiotic content. Works in this genre were formerly disregarded by researchers because of their perceived lack of meaning. Trends in modern scholarship have challenged this misconception, and recent technological innovations have facilitated the study of these objects. The category would be more appropriately termed "secondary" rather than" marginal," as the former offers a semantically unencumbered assessment of the role of these sculptures. Originally designed for the cathedral's twelfth-century western complex, the corbels were likely members of a series that encircled the entire perimeter of the building. The use of human and animal head motifs for their decoration exemplifies a pervasive historical practice in architectural sculpture. The preservation of the corbels in the Gothic reconstruction of the cathedral substantiates their significance to medieval viewers. Study of the surviving pieces is complicated by the loss of the contextual framework provided by the remainder of the series. The examination of material evidence indicates a record of artistic engagement with these works. Iconographic analysis of individual corbel images reveals both correspondences with the thematic context of the primary sculptural program and independent signification. This project is intended as a useful starting point for additional inquiry, as investigations of secondary sculpture at other sites may bring new insight to its manifestations at Chartres.
Temple University--Theses
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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.
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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Claxton, Justin. "An iconological analysis of British gold staters, c.80 BC - AD 45." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/an-iconological-analysis-of-british-gold-staters-c80-bc--ad-45(bacf2f65-3237-4bcc-8bf9-b3a3c4276257).html.
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The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis of lan Hodder's (1995, 1986) 'context of use' of other types of comparable forms and motifs within the archaeological record. The iconological content of staters is interpreted in terms of a transition, c. 20 BC - AD 10, from the expression of corporate or public ideals in a 'tribal periphery' to the manifestation of personal or private concerns in the southeastern 'core'. This divergence coincides with the emphasis placed upon the relative 'monetary' or 'political' roles performed by coinage within these regions. From the context of the forms or motifs illustrated on staters it is concluded that such images were appropriated by members of a minority social elite to legitimise and maintain their position at the apex of a social hierarchy.
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Richmond, Jennifer Lynn. "Iconographic Analysis of the Armadillo and Cosmic Imagery within Art Associated with the Armadillo World Headquarters, 1970 - 1980." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5491/.
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This thesis draws upon recent, art historical scholarship in iconography and semiotics to identify and analyze key images in an iconographic program associated with murals, paintings, and posters related to the Austin, Texas music venue, the Armadillo World Headquarters, 1970-1980. Resources include South Austin Museum of Popular Culture, the Center for American History at the University of Texas, Austin, personal communications, and publications concerning the artists, music and history of Austin and the Armadillo World Headquarters. There are five chapters as follows: Introduction, History of the Armadillo World Headquarters, Analysis of the Armadillo Mural and Freddie King Painting, Analysis of Posters for the Grand Opening and the Michael Murphey Cosmic Cowboy Concert, and Conclusion.
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Klingbeil, Martin Gerhard. "Syro-Palestinian stamp seals from the Persian Period (538-332 B.C.): an analysis of their iconographic motifs and inscriptions." Thesis, Stellenbosch : University of Stellenbosch, 1992. http://hdl.handle.net/10019.1/1950.
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Thesis (MA (Ancient Studies)--University of Stellenbosch, 1992.In the course of this M.A. thesis, 65 stamp seals (conoids, scaraboids, signet rings and scarabs) have been collected, described, and analyzed. They stem from legal archaeological excavations in Syro-Palestine, and have been found in strata and contexts which can clearly be ascribed to the Persian period. Methodological questions were addressed, including the following: historical outline of the Persian period, geographical limitations of the study, archaeological considerations, and the iconographic and epigraphic aspects of the study. For the description process, a computerized system was developed, by means of which the seals could be described on three levels: general description, element description, modification description. In this way, a uniform way of handling the data was achieved. The description procedure is reflected in the fonn of a catalogue. In order to facilitate the analysis, the seal corpus was organized in three, at times overlapping, classes: iconographic seals, epigraphic seals, and hieroglyphic seals. The different classes were then analyzed according to their peculiarities, e.g. geographical distribution, iconographic motif groups, palaeography, onomastica, etc. It was shown that the corpus of stamp seals from the Persian period consists of a wide variety of objects in tenns of form and content, and could by no means be characterized as being homogenous. A certain relationship between geographical origin, fonn, and content of the seal could be established.
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Robinson, T. P. E. "Cords of time : an iconographic analysis of the flat two dimensional knot in the context of classic period Maya representation." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427442/.
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In his book 'A Study In Maya Art And History: The Mat Symbol', Robicsek draws our attention to what he considers to be a well-defined group of motifs represented on Maya artifacts, and which he diagnoses as mat symbols (Robicsek 1975: 17). Robicsek identifies forty three varieties of mat-symbols which he organizes into four sets based on their design (Robicsek 1975: 186). The first design ‘consists of two bands of equal lengths twisted around each other’ (Robicsek 1975: 187), whilst the second conforms to the first design except that the twists are ‘enclosed within a medallion-like frame’ (Robicsek 1975: 187). The third design is an ‘interwoven design, which shows not only simple twists, but also a more intricate “in-and-out” pattern’ (Robicsek 1975: 187). The fourth he terms a ‘decorated design’ resembling the first with the exception that ‘circular motifs’ (Robicsek 1975: 187) are shown as attached to the twists. The third set, the motifs with an interwoven design are the items which interest me and which form the subject of this research. I have identified these motifs as representations of knots and propose that they should be categorized―based on their shared characteristics which I describe in Chapter Four―as members of a particular type of knot. The focus of this research is therefore not Maya knots per se but rather a particular knot type characterized by an interwoven design. Knots are constructed from perishable material, which does not survive in the archaeological record; therefore my dataset comprises representations of knots pictured on different media such as ceramics, sculpture, monuments and architecture. Because knot representation is richest in the Classic Period, this is the time period on which my research focuses. I propose that how or where this particular knot type was displayed was not arbitrary, but rather reveals intentionality; the implication is that knot motifs were vehicles for the communication of certain ideas or concepts and as such were infused with meaning. This position is supported by the research set out in Chapter Three which looks at the use of knots by different cultures over time and through space. Recovering meaning involves an analysis of the relationship between the knot representations and the items or personages, such asthrones or deities, which display the knots. Also entailed is a consideration of when (the date of the representation) and where (which sites), the knots were displayed. By means of these analyses an understanding is gained of the knot, based on its relationship with people and things over time and through space. The identification of one group of Robicsek’s purported ‘mat motifs’ as knots serves to open the door to more rigorous analysis. As a first step in unraveling and deconstructing Robicsek’s ‘mat symbol’ hypothesis, it is hoped that this work will inspire further research on the remaining motifs which are still erroneously interpreted as ‘mats’.
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Reynolds, Patrisha. "Temporal trends in grave marker attributes an analysis of headstones in Florida." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/607.
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Grave markers reflect a wealth of information and collectively epitomize society's historic, social, and economic patterns over time. Despite an abundance of cemetery research in other parts of the country, little research has been undertaken to evaluate grave marker attributes in Florida. The purpose of this research was to determine how grave marker attributes have changed over time in north-central, central, and southeast Florida. Data were collected from ten cemeteries in five counties in Florida, representing the grave markers of over 1,100 individuals. Data collection involved visiting each cemetery, photographing markers, and cataloging grave marker attributes. Attributes analyzed included marker type, marker material, epitaphs, iconographic images, memorial photographs, footstones, and kerbs. A number of important trends were noted. Marker material exhibited the clearest example of a temporal trend, shifting over time from 73% marble to 73% granite. Marker type varied greatly from upright and flat ground markers to a variety of customized markers and vaults. Cultural differences were also noted with in-ground vaults dominating traditionally black cemeteries. There were clear differences in marker style between affluent and less affluent cemeteries, with numerous hand-cast cement markers observed in less prosperous areas. Furthermore, beginning in the early 1980's there is an increase in customized laser engraved markers. Overall, Florida's cemeteries offer a rich history of the state's mortuary practices and further research should be conducted to preserve this history.B.S.
Bachelors
Sciences
Anthropology
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Strumwasser, Gina. "Heroes, heroines and heroic tales from the Old Testament : an Iconographic analysis of the most frequenly represented Old Testament subjetcs in Netherlandish painting, ca. 1430-1570 /." Ann Arbor (Mich.) : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb355355709.
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Chamas, Fernando Carlos. "A escultura budista japonesa até o período Fujiwara (552 -1185): a arte da iluminação." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-09112007-150941/.
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O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens.Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object \"Japanese Buddhist sculpture\" from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories.
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Hajji, Jamel. "Conflits et amours mythiques représentés sur des mosaïques de l’Afrique proconsulaire du Bas-Empire : fin du IIIe siècle – début du Ve siècle." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20043.
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Cette étude cherche à appréhender la place qu’avaient occupée les Conflits et les Amours mythiques dans la mosaïque de l’Afrique Proconsulaire au Bas-Empire (fin du IIIème - début du Vème siècle). Aussi, savoir la nature des sujets, les modalités d’assimilation figurative, l’évolution des concepts, ainsi que les rapports qu’auraient eus les mosaïstes ou les commanditaires avec une culture considérée comme étrangère. Pour chaque mosaïque sont mis en évidence les apports respectifs de l’iconographie et de la littérature. Les composantes structurelles et conjoncturelles de chaque image, à savoir le cadre de l’action, les personnages, les modèles et les formules iconographiques, ainsi que les modalités de mise en scène, sont examinés de plus prés. s’interrogeant sur l’insistance des empreints, l’interchangeabilité entre thèmes, nous remettons en question des idées devenues avec le temps comme des dogmes, telle la totale dépendance de la mosaïque de l’Afrique Proconsulaire aux tendances artistiques de l’époque et son incapacité à se détacher de l’hégémonie des arts dits majeurs, et nous montrons que les mosaïstes africains ne sont pas de simples imitateurs, mais de véritables novateurs. D’autres approches sont nécessaires pour mettre nos mosaïques dans leurs contextes architecturaux et décoratifs d’origines. Ceci permettant d’aborder les problématiques liées aux relations sémantiques, vise à connaître les modalités d’insertions utilisées dans le reste de l’Empire, mais aussi de s’interroger sur la validité de certaines idées, comme l’existence d’une codification régissant les scènes représentées et les contextes architecturaux.Enfin le replacement de la mosaïque, et à l’intérieur d’une production artistique englobant toutes les autres disciplines, et la prise en considération de toutes les particularités, géographiques, historiques, sociales et culturelles de l’Afrique romaine au Bas-Empire, montre qu’il est difficile, voire impossible, de mesurer le rapport exact entre fonction administrative, statut financier et niveau culturel des commanditaires. Au lieu de continuer de parler de l’existence d’une même et une seul culture élitiste à laquelle adhère tous les aristocrates de l’Empire, il serait nécessaire de surpasser certains a priori et parler de diversités et de différences que de ressemblancesThe object of this thesis is the review of the conflicts and mythological love endeavors depicted in the Africa Proconsularis mosaics in the Late Antiquity period. In the meantime, one of the main aims is the study of the subject of the mosaics, the manners of the figurative assimilation, the evolution of the concept, and also the relation between the mosaic makers and a culture considered as a foreign one.For each mosaic are highlighted the respective contributions of the iconography and literature. The structural and conjectural components of each image, meaning the setting of the actions, the characters, the models and the iconographic formulas, and the methods of the production are examined more narrowly; questioning the insistence of imprints, interchange- ability between subjects. We are putting into question theories which has become over time as a dogma, such as the total dependence of the mosaic of Africa Proconsularis to the artistic trends of the time and the inability to separate from the hegemony of the arts alias the major; and we will try to demonstrate that the African mosaic makers were not mere imitators, but truly innovators.Moreover, other approaches are needed to put the mosaics within their architectural and decorative context. These approaches will allow addressing issues related to semantic relations, aiming to find out the modality of the insertion in the rest of the Empire, but also to investigate the validity of certain theories, such as the existence of a codification as a regulator linking the scenes presented and the architectural contexts.Finally, the replacement of the mosaic, in the artistic production encompassing all the other disciplines, taking into consideration all the geographical, historical, social particularities, and the cultural aspects of Roman Africa during the Late Antiquity, which give evidence that it is difficult or impossible to measure the exact relationship between administrative function, financial status and cultural level of the elite sponsors. Instead of, continuing to discuss about the existence of only an elitist culture that adheres to all the aristocracy of the Empire, it would need to exceed some a priori and talk about diversity and differences rather than only similarities
Books on the topic "Iconographic analysis"
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Lemmen, Hans Van. Dutch tiles at 'Farrago': An iconographic, stylistic, technical analysis. 2nd ed. Leeds: Leeds Polytechnic, 1990.
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van, Walsem René, ed. Iconography of Old Kingdom elite tombs: Analysis & interpretation, theoretical and methodological aspects. Dudley, MA: Peeters, 2005.
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'Christus und die minnende Seele': An analysis of circulation, text, and iconography. Wiesbaden: Reichert Verlag, 2010.
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The home setting in early Netherlandish paintings: A statistical and iconographical analysis of fifteenth- and early sixteenth-century domestic imagery. Lewiston, N.Y: E. Mellen Press, 2008.
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Gagliardi, Isabella, ed. Le vestigia dei gesuati. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-228-7.
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The book analyses the history of the Jesuat congregation, highlighting the elements of connection and comparison with the social contexts, then describing the origin and the most ancient events of the female branch of the congregation, and the memory of the meeting between the "founder" of the Jesuats and the "foundress" of the Gesuate. The iconographic memory of the initiator of the congregation, Giovani Colombini, the collection of the lauds of the Jesuat Bianco da Siena, and the fortune of the 15th-century Life of Giovanni Colombini, written by Feo Belcari, are also investigated. Then the research reconstructs the constellation of groups, religious experiments and bearers of ideas and devotions that were linked to the Jesuats and, in particular, to the convents of Milan, Siena, Lucca, Venice and Rome and the sanctuaries managed by the congregation. The congregational sociability is analysed along its lines: the practice of work as pharmacists and the cultivation of spiritual friendships with prominent people such as the Countess of Guastalla, Lodovica Torelli. Finally, the erudite use of Colombini's Epistolario as a language text is studied. The volume closes with a documentary appendix on the Jesuat convent of Chiusi.
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The Old English verse saints' lives: A study in direct discourse and the iconography of style. Toronto: University of Toronto Press, 1985.
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Harchenko, Vera. The richness of color in Russian. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1895948.
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The monograph explores direct color designations with various ways of translating color characteristics: emotional, figurative, playful, tint. The analysis of various objects embodying color (animals and plants, food and minerals, fabrics and natural phenomena) is given. Some color meanings lost in modern Russian are analyzed. Color in painting, iconography, fiction, poetry, colloquial discourse, science, medicine, production, folklore is also included in the structure of the book. Throughout the narrative, the amazing subtlety of the Russian language in the transmission of the color palette is emphasized.
It can be useful to students, postgraduates and teachers of philological universities and faculties, as well as to all readers interested in the issues of color designation.
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Hedayat Munroe, Nazanin. Sufi Lovers, Safavid Silks and Early Modern Identity. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721738.
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This book examines a group of sixteenth- and seventeenth-century figural silks depicting legendary lovers from the Khamsa (Quintet) of epic Persian poetry. Codified by Nizami Ganjavi in the twelfth century, the Khamsa gained popularity in the Persian-speaking realm through illustrated manuscripts produced for the elite, creating a template for illustrating climactic scenes in the love stories of “Layla and Majnun” and “Khusrau and Shirin” that appear on early modern silks. Attributed to Safavid Iran, the publication proposes that dress fashioned from these silks represented Sufi ideals based on the characters. Migration of weavers between Safavid and Mughal courts resulted in producing goods for a sophisticated and educated elite, demonstrating shared cultural values and potential reattribution. Through an examination of primary source materials, literary analysis of the original text, and close iconographical study of figural designs, the study presents original cross-disciplinary arguments about patronage, provenance, and the socio-cultural significance of wearing these silks.
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Paxton, Merideth Daniel. Codex Dresden: Stylistic and iconographic analysis of a Maya manuscript. 1986.
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Cline, Lea K., and Nathan T. Elkins, eds. The Oxford Handbook of Roman Imagery and Iconography. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190850326.001.0001.
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Roman imagery and iconography are typically studied under the more general umbrella of Roman art and in broader, medium-specific studies. This handbook focuses primarily on visual imagery in the Roman world, examined by context and period, and the evolving scholarly traditions of iconographic analysis and visual semiotics that have framed the modern study of these images. As such topics—or, more directly, the isolation of these topics from medium-specific or strictly temporal evaluations of Roman art—are uncommon in monograph-length studies, our goal is that this handbook will be an important reference for both the communicative value of images in the Roman world and the tradition of iconographical analysis. The chapters herein represent contributions from a number of leading and emerging authorities on Roman imagery and iconography from across the world, representing a variety of academic traditions and methods of image analysis.
Book chapters on the topic "Iconographic analysis"
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Milbach, Juliette. "Zinaida Serebrjakova in Paris. Iconographic Analysis of a Russian in Exile." In Transformed by Emigration. Welcoming Russian Intellectuals, Scientists and Artists (1917–1945), 50–63. Brno, Czech Republic: Masarykova univerzita, 2021. http://dx.doi.org/10.1484/m.convisup-eb.5.130997.
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de Castro León, Víctor, and Alberto Tiburcio. "‘Alī al-Sharafīʼs 1551 Atlas: A Construct Full of Riddles." In Übersetzungskulturen der Frühen Neuzeit, 259–85. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_13.
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AbstractThis paper examines the practices of translation in the 1551 Atlas of ‘Alī al-Sharafī of Sfax (d. after 1579). Drawing on conceptual frameworks from translation studies, linguistics, and other disciplines of textual and historical analysis, we argue that the iconographic and textual elements of the atlas –such as calendrical tables, qibla charts, knot patterns in frames, and depictions of flags and banners in sectional charts– reflect a quest for ways to culturally adapt map-making practices that were shared across the Mediterranean realm. As such, the product in question cannot be fully understood through the lens of traditional dichotomies such as Islamic vs. Christian or European vs. Middle Eastern or North African, as its cultural references and semiotic repertoire extend beyond subregional and confessional demarcations.
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Penco, Sara. "Smarticon: a Digital Eco-System for Cultural Heritage. Iconographic Convergences in Art and in World Religions." In Proceedings e report, 135–42. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.33.
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The recovery of the history of humanity goes through the comprehension of ancient testimonies handed down to us in artistic representations. The innovative tool par excellence is the technologies. Smarticon is an Italian patent for method in charge of studying historical analysis (originated from the morphology of the concept), of examining the phenomenology analysis (which results in the typology and exceeds it) and to the comparative research (which allows to arrive at the hermeneutics ). The comprehension of the transitory meaning of each event is entrusted to the historian who, by recomposing the phenomena, is also able to codify the comparative meanings.
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Baghdasaryan, Lilit, Shona Bettany, Richard West, and Alison Rieple. "Reproduction of Gender Ideology Through Russian Consumer Culture: The Case of Iconography of the ‘Mother’ in Russia, an Extended Abstract." In Marketing at the Confluence between Entertainment and Analytics, 141–46. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47331-4_25.
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Tessera, Miriam Rita. "A fragmentary story: episcopal culture in Milan during Lothar I’s reign?" In Reti Medievali E-Book, 33–65. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-623-0.04.
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Dealing with episcopal culture in Milan during Lothar I’s age (822-855), that is the age of Archbishop Angilbert II (824-859), is a difficult task, because of the lack of sources and uncertain origin of many extant manuscripts. As a matter of fact, Angilbert II shared a common cultural background with his transalpine colleagues, but he had to face the loss of the schools in Milan and to rebuild a cultural system which could also improve the political role of his see to the detriment of Pavia. This paper analyses some main features of his cultural policy: the activity of masters accustomed to the new ideas of Carolingian schools, in particular the role played by Hildemar and his library in Civate; the renewal of St. Ambrose’s cult and Angilbert’s iconographical choices on the golden altar of Sant’Ambrogio, in connection with literary activity in Milan (as for the case of bishop Mansuetus’ letter copied in Montpellier, Bibliothèque Interuniversitaire, Faculté de medicine, H 233).
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Morón, José Miguel Pueblo. "Greek Coins, Punic People: An Iconographic Analysis of the Punic Coinage of Sicily." In Religious Convergence in the Ancient Mediterranean, 313–27. Lockwood Press, 2019. http://dx.doi.org/10.5913/2019167.ch16.
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The coinage used by Punic inhabitants of Sicily during the fifth and fourth cen- turies BCE was minted by Greek workers using Greek iconographic elements to create a new iconography with a completely different message for the Punic residents of Panormos, Solus, and Motya. This new iconography combined Greek gods like Poseidon, Herakles, and Demeter, and local deities like nymphs and river gods with the main Punic divinities Baal, Tanit, and Melqart. The images of the gods themselves, as well as plants, animals, and ob- jects, allowed the construction of Punic identity through a new medium of communication, advertising, and exchange. These first Punic mintings on Sicily demonstrate the principles of cultural convergence at iconographic, organizational, and economic levels. The elements so used took on new meanings for the non-Greek residents of the towns that minted them.
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"Comparative Analysis of Iconographic and Linguistic Evidence." In Archaeological Paleography, 128–64. Archaeopress Publishing Ltd, 2016. http://dx.doi.org/10.2307/j.ctvxw3nzp.10.
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Khokhlova, Irina L. "Image of Feats of Repentance in the Ladder and in the Hagiographic Icon of John Climacus." In Hermeneutics of Old Russian Literature. Issue 21, 495–513. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-495-513.
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The article examines image of feats of repentance in the Ladder and in the hagiographic icon of John Climacus. The ascetic composition of the Byzantine Saint John Scholasticus The Ladder of Heaven has a rich history of embodiment in old Russian painting. The original type of iconography, born of the Ladder, are the scenes of monastic exploits in the monastery-dungeon, described in the Word 5 On Repentance. A developed cycle of images of repentance scenes of monastic recluses surrounds mullion of the recognized masterpiece of the last third of the 16th century — the icon Vision of St. John of the Ladder with 24 Stamps of Life and Exploits from the collection of the Rybinsk Museum-Reserve. The purpose of study is to trace in this rare monument nature and features of translation of the fifth chapter of the Ladder from literary to pictorial language. The tasks of studying an icon are to determine its closest iconographic and stylistic analogies and protographs in frescoes, icons, miniatures. This will clarify the dating and attribution of the icon. Using a method of comparative analysis of text and image, a method of iconographic and stylistic comparisons, an iconological method, author finds parallels between hagiography and iconography. A consistent comparison of the icon’s brands with similar scenes of monks’ repentance in the fresco of the western gallery of the Annunciation Cathedral of Moscow Kremlin (1508–1564) and in the miniatures of the manuscript Ladder of the 1520s–1530s from the RSL (Russian State Library) proves the obvious close acquaintance of the icon’s author with these monuments of metropolitan origin. The uniqueness of iconography and elitism of icon’s writing lead to the conclusion that it was written by a Moscow isographer by royal order, probably as an image of the patron saint of prince Ivan, the son of Ivan the Terrible.
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Curie, Gabriela. "Sonic Entanglements, Visual Records and the Gandhāran Nexus." In The Music Road, 41–70. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0003.
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Visual representations of music-making from ancient Gandhāra—a region in today’s north-western Pakistan and eastern Afghanistan—bear witness to the early dissemination of music instruments and iconographic practices, as part of the intellectual and artistic exchanges along Eurasian trade routes during the early centuries of the Common Era. At the intersection of cultural spheres—Buddhist, Hellenistic and Zoroastrian; Indian and Persian; Kuṣāṇa, Parthian and Indo-Scythian—Gandhāran musical culture offers one perfect, albeit challenging, example of a nexus of transcultural expression. The entangled organological and iconographical histories embedded in Gandhāran artefacts lend themselves to transcultural analysis, and to the understanding of pre-modern processes of musical globalisation, encounter, exchange and hybridisation or entanglement. Since the Gandhāran world partakes in the networks of the Silk Roads as both a ‘receiver’ and ‘transmitter’ of culture, it seems to display cultural cosmopolitanism par excellence: a nexus of both centripetal and centrifugal transcultural music-iconographical and organological negotiations.
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Navarro, Laura, and Joaquín Arroyo-Cabrales. "Bats in Ancient Mesoamerica." In Archaeology of Mesoamerican Animals, 583–605. Lockwood Press, 2013. http://dx.doi.org/10.5913/2013055.ch19.
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As an animal group, bats (Mammalia, Chiroptera) were culturally recog- nized by the ancient inhabitants of Mesoamerica. Multiple representations of these animals, including those symbolizing deities, and the occasional findings of skeletal bat remains in archaeological contexts, are proof of this. This chapter evaluates archaeological and historical evidence of bats using archaeozoological research methodology. The study is fundamentally based on the interpretation of iconographic representations and ethnohistorical texts since the archaeological record is very limited and does not conclusive- ly represent the Mesoamerican pre-Hispanic symbolism spectrum. Diverse representations and codex writings indicate that pre-Columbian indigenous peoples had some knowledge about bats, their nocturnal habits, and even some aspects of their biology. Our analysis of certain iconographic representations recognized by some researchers as bats, indicates that only a small number of these actually pertain to this animal type, while most seem to be a combination of biological and mythological elements.
Conference papers on the topic "Iconographic analysis"
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Tsatsenko, L. V., and D. L. Savichenko. "Iconographic analysis in archaeogenetics of agricultural plants." In CURRENT STATE, PROBLEMS AND PROSPECTS OF THE DEVELOPMENT OF AGRARIAN SCIENCE. Federal State Budget Scientific Institution “Research Institute of Agriculture of Crimea”, 2019. http://dx.doi.org/10.33952/09.09.2019.185.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Talenti, Simona. "Visions “humaines” ou “infernales”: les moyens de transport et la perception de la ville chez Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.821.
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Résumé: Les représentations des villes depuis la mer ont eu, à partir du XVe siècle, un grand succès dans l’iconographie urbaine des voyageurs. Depuis 1911, Le Corbusier a pris l’habitude d’esquisser dans ses carnets de croquis les paysages urbains découverts au cours de son voyage en Orient. Villes, remparts ou monuments significatifs sont souvent représentés depuis la mer ou les fleuves, car l'arrivée en bateau autorise une perception progressive et globale du site. Suite à son séjour en Amérique du sud en 1929, l'architecte exprime ouvertement son appréciation pour la perspective obtenue depuis le bateau au milieu des baies, car ce point de vue lui permet de contextualiser immédiatement ses propositions d’aménagement urbain. De simple connaissance des villes, cette pratique iconographique devient, chez Le Corbusier, un instrument d’élaboration du projet. Mais la vue horizontale est bientôt accompagnée du procédé de survol des centres urbains pour appréhender la grandeur du paysage naturel et construit. À travers l’analyse des nombreuses images – dessins, croquis, photos – élaborées par Le Corbusier à partir des différents moyens de transport, ainsi que des commentaires accompagnant ces documents iconographiques et de quelques textes publiés, on essayera de mieux comprendre le rapport entre l’échelle de ces visions panoramiques et la nouvelle approche territoriale mise au point par Le Corbusier à partir des années Trente. Abstract: The representations of cities viewed from the sea have had, since the fifteenth century, a great success in urban iconography. From 1911, Le Corbusier began drawing urban landscapes in his sketchbooks, which he discovered during his trip to the Orient. Cities, fortifications or significant monuments are often depicted from the sea or rivers, because the arrival by boat allows a gradual and overall perception of the site. After his stay in South America in 1929, the architect openly expressed his appreciation for the panoramic view obtained from the boat in the middle of the bay. This point of view allows him to contextualize his urban development proposals immediately. This iconographic practice is no longer a simple function of knowledge, but it has become an instrument for realising the project. However, the horizontal view was soon accompanied by the process of flying over urban centres to understand the magnitude of the man-made and natural landscape. Through the analysis of the many images – drawings, sketches, photos – developed by Le Corbusier using different means of transport, of comments accompanying these iconographic documents and of some published texts, the paper aims to better understand the relationship between the scale of these panoramic visions and the new territorial approach developed by Le Corbusier from the Thirties onwards. Mots clés: moyens de transport; avion; bateau. Keywords: means of transport; airplane; boat DOI: http://dx.doi.org/10.4995/LC2015.2015.821
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Дэвлет, Е. Г., А. Е. Гринько, А. Р. Ласкин, and Э. А. Грешников. "FACE-MASKS WITH A HALO IN THE LOWER AMUR ROCK ART." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.71-79.
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В статье рассматривается дискуссионная тема интерпретации изображений антропоморфных личин с ореолом ( сиянием ) в комплексах петроглифов Нижнего Амура. На основе анализа литературных источников и сопоставления аналогий в широком диахронном аспекте прослежена связь территориально удаленных иконографических трансформаций и универсалий, конвергентного сходства и заимствований в традициях подобных антропоморфных изображений обширного Тихоокеанского региона The paper deals with the debatable topic of interpretation of anthropomorphic face-mask images with a halo ( shine ) in rock art of the Lower Amur. Based on the analysis of publications and comparison of analogies in a wide diachronic aspect, the connection is traced between territorially distant iconographic transformations and universals, convergent similarities and borrowings in traditions of similar anthropomorphic images of the vast Pacific region.
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Shajani, Nafiseh. "MILLENNIAL REPRESENTATIONS OF MEDIEVAL RELIGIOUS SCHISM IN WESTERN MEDIA: An Iconographic Analysis of Dante�s Inferno 28 and the Twenty-First Century Films Dracula Untold and Kingdom of Heaven." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.11.
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Guerrero, Lorena. "A design look at heritage silverware. Case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.65.
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This participation presents the study of a pair of silverware lecterns from Nueva Granada, whose elaboration dates from the second half of the seventeenth century. Throughout the investigation, we made reflections about how the analysis of these artifacts, from the point of view of industrial design, allows us to see aspects that other disciplines study superficially, such as the close relationship between form, function and the production of an object. The objective of the research has been to understand the historical context of a society through the use of its objects, its symbolism and the dynamics of its manufacture. This research was developed in alliance with the Museo Colonial of Bogotá, which allowed direct access to the lecterns, a moment that constitutes a point of exploration; Unlike what can be the investigation of material culture from history or the history of art in its most traditional practices, the starting point is the artifact itself, which provides first-hand information both for its iconography and for its technical traces. Thanks to the iconographic analysis, it is possible to establish the "stories" contained in the pieces, and even their owners and context of use, despite the lack of regulatory colonial markings; Thanks to the observation of technical traces, it is possible to establish its production process and contrast it with current goldsmithing techniques. This contrast was made by the hand of an expert silversmith, which opened another look at the intangible heritage of the current trade of silversmithing in Colombia. Thanks to this study, it was possible to conclude that the role of silversmiths in New Granada was of vital importance for the purposes of the Spanish Crown to expand the Catholic religion throughout the Empire, thanks to its power in representation and capacity to capture the attention of the parishioners, due to the high level of decorative detail influenced by the Baroque movement. One of the most important aspects of the research was the development of different products that allowed the communication of the findings to different types of public: thus, the project had articles and participation in academic events, but also with the production of informative texts, museum material and a digital course in MOOC format, with audiovisual content. Therefore, this research is not only about the case study, but about how design can contribute from its own languages and resources to the recognition of the tangible and intangible heritage of a country.
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Spadafora, Giovanna, Gabriele Bellingeri, Marco Canciani, Elisabetta Pallottino, Simone Ferretti, Eleonora Antonucci, and Roberto Dolfini. "Rilievo 3D e modellazione avanzata nello studio dei Forti di Roma: il Forte Monte Antenne." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11424.
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3D survey and advanced modeling in the study of the Forts of Rome: the Forte Monte AntenneIn the studies the authors are conducting on the entrenched camp of Rome, 3D surveys and digital models are used as means to understand constructions with the aim of developing restoration and re-utilization projects. For Forte Monte Antenne (1882-1891), the authors have carried out systematic studies of the formal and structural aspects. The data acquired from a direct survey and with laser scanner, drone and photogrammetry, integrated with data obtained from iconographic and bibliographic sources, were integrated in the creation of a digital model, which made the classification of the various elements in a structured database possible, including the verification of the relationship among the parts at varying levels, and the system of aeration ducts. Convective motions and the thermo-hygrometric and visual comfort within some of the environments, as well as thermographic surveys of the walls were conducted. The BIM model was integrated, therefore, with a MEP model. The hypothesis of restoration and possible adaptation to new functions cannot disregard the analysis of those parameters which complete the picture of environmental quality and thus of the effective potentials in repurposing of the structure.
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Rodríguez Romero, Eva Juana, Carlota Sáenz de Tejada Granados, and Rocío Santo-Tomás Muro. "The role of historical green spaces in the identity and image of today’s cities: The case of Madrid." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5340.
Full textAbstract:
The role of historical green spaces in the identity and image of today’s cities: The case of Madrid Eva J. Rodríguez Romero¹, Carlota Sáenz de Tejada Granados², Rocío Santo-Tomás Muro3 1, 2, 3 Departamento de Arquitectura y Diseño. Universidad CEU San Pablo. Escuela Politécnica Superior, Campus de Montepríncipe. 28668 Boadilla del Monte, Madrid. E-mail: rodrom@ceu.es, carlota.saenztejada@ceu.es, rocio.santotomasmuro@beca.ceu.es Keywords: landscape history, proximity landscape, city iconography, sense of place, Madrid Conference topics and scale: Urban green space The image that a city offers when approaching it, depending on its topographical situation, the drawing of its borders or its urban form, generates a perceptive construction, for both locals and tourists, with the potential to become an iconic image and therefore play a part in the collective imagery. The character and value of those landscapes is largely determined by their green spaces, preserved in most European cities for their ecological or historical significance. Being able to recognize the worthiness of these proximity visions, in the context of today’s growing cities, is of fundamental relevance in order to enhance the sense of place, amongst other community values. In this communication we study the above-mentioned aspects in the image of the city of Madrid, within the framework of the project ‘Proximity landscapes of the city of Madrid. From the 19thC to the present’ currently in process. Through a landscape analysis of a selection of iconographic representations of the surroundings of the city, we draw special attention to the presence of historical green spaces throughout time, and its relation with architectural landmarks in the progressive construction of an iconic image of the city. From here, we can deduce the relevance that these elements have in the generation of a recognizable character and the decisive role of protection mechanisms in order to preserve it. References Lasso de la Vega, M. (2007) Quintas de recreo. Las casas de campo de la aristocracia alrededor de Madrid, 2Vol. (Madrid City Council, Madrid) Martínez, A. (2008). El entorno urbano del Palacio Real de Madrid entre 1735 y 1885 (Madrid City Council, Madrid). Ortega, J., Martínez, A. & Martín, F.J. (2008) Entre los Puentes del Rey y de Segovia. Secuencias gráficas del río Manzanares (Madrid City Council, Madrid). Ramón-Laca, L., Tardío, F.J. (2005) ‘Vegetal products used in Madrid between the 14th and 19thC, Asclepio (LVII-2, 25-44. Wester-Heber, M. (2004) ‘Underlying concerns in land-use conflicts-the role of place identity in risk perception’, Environmental Science & Policy, 7, 109-116.
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Palestini, Caterina, and Carlos Cacciavillani. "Integrazioni multidisciplinari: storia, rilievo e rappresentazioni del castello di Palmariggi in Terra d’Otranto." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11358.
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Multidisciplinary integrations: history, survey and representations of the castle of Palmariggi in Terra d’OtrantoThe contribution integrates historical readings, conducted through archive documents and iconographic materials, with surveys and graphical analyzes carried out through direct knowledge of Palmariggi’s historic center in Salento. The imposing Aragonese castle of which today only the two cylindrical towers remain, joined together by a stretch of perimeter masonry, initially presented a quadrangular plan with four corner towers, of which three are cylindrical and one is square and was surrounded by an existing moat, until the middle of the twentieth century, with a wooden drawbridge on the eastern side. The fortress was part of a strategic defensive system, designed to protect the village and the productive Otranto’s land with which it was related. The fortified Palmeriggi’s center represented an important defensive bulwark placed within the network of routes and agricultural activities that led from the hinterland to the port of Otranto, where flourishing trade took place. The research examines the changes undergone by the defensive structure that has had several adaptations made initially in relation to changing military requirements, resulting from the use of firearms, the upgrades that were supposed to curb the repeated looting and the military reprisals against the inhabited coastal and inland centers of Salento peninsula, and later social that led to the expansion of fortified village with Palazzo Vernazza’s (eighteenth century) adjacent construction and the original parade ground’s elimination. Summing up, the contribution in addition to documenting the current situation with integrated surveys, the state of preservation of fortified structure with its village, of which it examines the urban evolution based on the construction, typological and morphological systems, relates to the surrounding territory by comparing the plant of the ancient nucleus with that of neighboring fortified Salento’s centers. Finally, digital study models allow fortified structure’s three-dimensional analysis, its construction techniques, assuming the original shape.
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De Luca, Livio, Chawee Busarayat, Chiara Stefani, Noemie Renaudin, Michel Florenzano, and Philippe Véron. "An Iconography-Based Modeling Approach for the Spatio-Temporal Analysis of Architectural Heritage." In 2010 Shape Modeling International (SMI). IEEE, 2010. http://dx.doi.org/10.1109/smi.2010.28.
Full textReports on the topic "Iconographic analysis"
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Martínez-Oña, MM, and AM Muñoz-Muñoz. Iconographic analysis of the myth of Lilith in advertising. Revista Latina de Comunicación Social, October 2015. http://dx.doi.org/10.4185/rlcs-2015-1062en.
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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.
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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.