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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.
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Batchuluun, Sergelen. "Iconography of the White Old Man — Tsagaan Ebugen’s Image in Mongolian Ethnic Art." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 23–31. http://dx.doi.org/10.15826/izv2.2021.23.4.064.
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This article attempts to compare written primary sources, such as sutras dedicated to Tsagaan Ebugen, with a range of different visual materials, and take into consideration the unity of cultural and artistic aspects. Based on different art materials collected by the author including fifty-four Mongolian, eighteen Kalmyk, and twenty-one Buryat images, the author shows the features and aspects of the iconography of the image based on the details of clothing. The article provides a detailed analysis of the whole complex of iconographic elements included in the image of Tsagaan Ebugen, such as face, hair, figure, clothes, shoes, and hats. The purpose of the article is to present the results of the analysis of art materials associated with the image of the White Old Man as well as to identify the most stable and persistent iconographic features of the image. The pictorial iconography of Tsagaan Ebugen reflects the complex relationship between the ancient chthonic and Buddhist principles. As a result of the study, it is demonstated that traditional elements of clothing are preserved in the image of the lord of the earth and water of the White Old Man, and only ten percent of all images collected by the author are an exception and have other elements of clothing details that appeared due to the historical and religious influence in the region.
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Monzón Pertejo, Elena. "The Transit of Mary Magdalene’s Soul in Catalan Artistic Production in the 15th Century." Religions 12, no. 11 (November 16, 2021): 1009. http://dx.doi.org/10.3390/rel12111009.
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There are a great many studies on the figure of Mary Magdalene in different areas of knowledge. Nevertheless, there is a gap as regards the image of this character in Catalonia, and specifically regarding the visual representation of her soul at the moment when she died. This text aims to analyze this matter based on two Catalan altarpieces: the Altarpiece of Saint Mary Magdalene from Perella (Bernat Martorell, 1437–1453) and The Death of Mary Magdalene (Jaume Huguet, 1465–1480). The analysis has been carried out based on the postulates from the tradition of studies on iconography and iconology: the relationships between image and text, the history of the iconographic types and the magnetic power of images. The basic hypothesis is that the representation of Mary Magdalene’s soul in the 15th Century in Catalonia is visually borrowed from the iconographic type of the Dormition of the Mother of God. To test this, comparative analyses have been made of the visual representation of the two women and also of the textual sources, such as the canonical and extracanonical gospels, a variety of medieval legends and different hagiographies or vitas and sermons from the period.
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Keller, Ulrich F. "The myth of art photography: An iconographic analysis." History of Photography 9, no. 1 (January 1985): 1–38. http://dx.doi.org/10.1080/03087298.1985.10442248.
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Seredin, Artur. "THE MACROSIGNIFIED OF FORMATIVE MESOAMERICA: A SEMIOTIC APPROACH TO THE “OLMEC” STYLE." Ancient Mesoamerica 32, no. 2 (2021): 204–14. http://dx.doi.org/10.1017/s0956536120000243.
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AbstractThis article applies the theory of archaeological semiotics to the study of the “Olmec” style. A semiotic approach differs from an iconographic study because it provides the possibility for complex analysis of all significant traits of material archeological objects without distinction between stylistic and iconographic traits. In this context, the semiotic analysis of the Olmec style as a sign system shows that its particular signs, which can be defined as stylistic traits because of the lack of specific iconographic meanings, simultaneously participated in the creation and transformation of cultural meanings. This phenomenon reflected the “macrosignified” of Formative Mesoamerican cultures, associated with a structure that linked together various meanings throughout the culture.
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Fundic, Leonela. "The wall painting in the church of St. Nicholas tes Rhodias near Arta." Zograf, no. 34 (2010): 87–109. http://dx.doi.org/10.2298/zog1034087f.
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The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.
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Golubev, V. A. "“By the Grace of God” and “With Common Funds”: Iconographic Program and Style of Two Icons Commissioned by Kaluga Merchant M.A. Makarov." Art & Culture Studies, no. 4 (December 2022): 254–85. http://dx.doi.org/10.51678/2226-0072-2022-4-254-285.
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The article is devoted to two unique icons commissioned by the Kaluga merchant Mikhail Makarov to commemorate the water pipe with a fountain built with his efforts in Kaluga. The first icon was executed in 1829 and solemnly installed in the City Duma of Kaluga. In 1837, M. Makarov ordered to paint its copy, which was kept in the family of his descendants until 1937. Unfortunately, only the last icon has survived and is now reposited in the State Museum of the History of Religion (St. Petersburg). The iconographic analysis and historical evidence of veneration of the lost original allow establishing the intent of the customer. The composition of the icons has no direct protographs, although some icon pieces influenced its formation (for example, Marian iconography of “Joy of all Who Sorrow” and “The Life-Giving Spring”). The non-typical iconographic idea of the customer forced the icon painter to resort to a set of artistic means unusual for icon painting. On the one hand, the masterpiece demonstrates the traditional methods of Kaluga icon painting of the late Nicholas I Empire era, but on the other hand, the influence of the provincial pictorial primitive is clearly noticeable. The icon executed by the merchant Makarov’s order in 1837 is a unique artwork in terms of its iconographic program and artistic performance. Due to the reliable date of creation and the confirmed Kaluga origin, the icon from the State Museum of the History of Religion occupies an important place in the history of Kaluga icon painting.
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Sycheva, Iuliia. "The Principle of Typological Parallelism of Testaments in Christian Iconography: on the Problem of Terminology." Человек и культура, no. 3 (March 2022): 61–68. http://dx.doi.org/10.25136/2409-8744.2022.3.38269.
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The object of research in this article is the terminological apparatus that is being formed in the foreign and russian historiographical tradition, describing concepts related to the principle of typological parallelism of Covenants in Christian iconography. This principle is based on the doctrine of "Reconciliation of Testaments" (considering Old Testament events as prototypes of New Testament history) and underlies the organization of plots already in a number of monuments of early Christian art. In the era of the High Middle Ages, this principle became one of the fundamental in the iconography of monuments of painting, sculpture and decorative and applied art. The subject of the study was the process of adding up the generally accepted terminology in studies devoted to the iconographic technique in question. The article also raises the problem of correlation between terms used in foreign and domestic historiography. Based on the analysis of the addition of the terminological apparatus in research on Christian iconography, the article concludes that there is no unified system of terms in modern science, especially in the domestic one, to describe the extremely important and widespread phenomenon of Christian iconography – the reflection in the pictorial cycles of the principle of "Reconciliation of Covenants". Tracing the etymology of the concepts used, the author of the article clearly demonstrates the existing contradictions in the terms "type", "antithype" and "antithype", and also analyzes the difficulties that arise when translating these concepts into Russian. Based on this research, it becomes possible to offer the most correct and unambiguously interpreted terms. The relevance of the study is explained by the absence in the Russian research literature of a system of terms for the iconographic principle under consideration, as well as individual Old Testament subjects-prototypes and their New Testament analogies.
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Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.
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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity at the transition to the Renaissance and during his heyday names Da Messina and Botticelli. Examines the reception of anthropological analogy as a phenomenon. The hypothesis is proved the simultaneous evolution of technology of a portrait of Raphael and inversion of the iconography of women's images in his works.
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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.
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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance.
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PENCHEVA, Zhana. "THE EAST AND “THE LAST JUDGMENT” IN THE BULGARIAN ORTHODOX ART." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 125–31. http://dx.doi.org/10.37708/ezs.swu.v18i1.15.
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e paper deals with two similar symbols – “The Judgment of the Soul” in the art of Ancient Egypt and “Weighing the Souls” from the scene “The Last Judgment” in the Bulgarian Orthodox art. They are part of the eschatological understanding of the afterlife. These symbols were analyzed and the paths of their movement were traced. The visual image of the supreme check of every deceased is the weighing of the heart and the judgment of God Osiris. It is related to spell 125 of the Book of the Dead. The article analyzes the iconography of this scene, which was widely used during the New Kingdom in Ancient Egypt. The “Judgment of the soul” of Ancient Egypt was probably transmitted by the Jews in Asia, and later entered the Christian iconography of the composition “The Last Judgment”. The formation of the iconographic image type in Byzantine and Western European art was traced. During the Bulgarian Renaissance, “Weighing of Souls” became a major motif and was interpreted by a number of painters in Southwestern Bulgaria. Images in the temples of Blagoevgrad, Rila, Bistritsa, Selishte, Dobarsko, Teshovo, Zlatolist, Dolen and others have been preserved. The analysis of the iconographic images makes it possible to summarize the results which show a number of similar elements in the two scenes. Such are the holy characters God Anubis and Archangel Michael, the two exits for the soul of man - eternal life or eternal torment. The long life of the symbol under consideration leads to the conclusion about the continuity of the moral evaluation of human earthly affairs.
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Golubeva, Irina V. "THE ECCLESIA THEME IN THE APSIDAL MOSAICS OF ROME AS A REFLECTION OF THE COMMUNICATIVE VISUAL STRATEGIES OF THE PAPAL POWER." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2021): 126–47. http://dx.doi.org/10.28995/2686-7249-2021-5-126-147.
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A number of researches in recent years have been aimed at revealing the factors that influenced the iconographic program in the apses of the basilicas in Rome as well as at a new, deeper understanding of the semantics of the depicted themes. The paper is focused on the mosaic compositions in Roman apses; it is intended to demonstrate three typical aspects (liturgical, stylistic and political) of the visual papal strategies that are reflected in the encrypted “messages” of the pontiffs in different times. Both iconographic models and inscriptions within the composition – liturgical texts, quotations from scripture – are studied in the connection with the liturgics. In the context of the stylistic analysis, the author considers the pictorial tools used by the Roman artists, thus trying to reveal their appeal to the heritage of the past. A manifestation of such a reference was reflected, particularly, in the widespread adoption of paleochristian models and schemes, which succeeded the reform of the Church, proclaimed by Gregory VII, and also were connected with the concept of Ecclesia primitiva. The political aspect of visual communication is represented in the selection of images of the Roman Church that appeared in the apse. The author seeks to understand the causality associated with the chosen iconographical program and the historical and political situation.
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Vampelj Suhadolnik, Nataša. "Han Mural Tombs: Reflection of Correlative Cosmology through Mural Paintings." Asian Studies, no. 1 (December 1, 2011): 19–48. http://dx.doi.org/10.4312/as.2011.-15.1.19-48.
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The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinesecosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorative function, but together with the architectural structure and other burial objects reflected the entire cosmic image. The analysis of tomb paintings reveals a developed correlative cosmology yin-yang wuxing which manifests its concrete image in symbolic codes of individual iconographic motifs. The article first displays a general review of tombs with murals, and then focuses on depictions in Han tomb murals, discussing representation of the images of celestial bodies, the symbolic polarity of the cosmical forces yin and yang, the symbolism of the four directions and the four seasons and the symbolic circling of the five xings.
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Fedorov, Alexander. "Iconographic Analysis of Media Texts on Media Literacy Education Classes." European Researcher 96, no. 7 (July 25, 2015): 502–10. http://dx.doi.org/10.13187/er.2015.96.502.
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장희정. "An Iconographic Analysis of the Sixteen Arhats of Pagyesa Temple." KOREAN JOURNAL OF ART HISTORY 265, no. 265 (March 2010): 233–69. http://dx.doi.org/10.31065/ahak.265.265.201003.008.
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Zielińska, Paulina. "The Icons of Military Saints in Rus’. An Attempt at Classifying Iconographic Types from before the Beginning of the 17th Century." Ikonotheka 27 (July 10, 2018): 55–70. http://dx.doi.org/10.5604/01.3001.0012.2316.
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Depictions of military martyrs were among the most popular subjects in icon painting in Rus’. Between the 11th and the 17th century local workshops adopted canonical Byzantine models and gradually developed and changed them depending on local factors and conditions. The present article attempts to classify the most common iconographic types and to describe the dynamic of the changes in the iconographic canon on the basis of a qualitative and quantitative analysis of extant and known works.
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Kombui, Babaaradio, Dickson Adom, and Samuel Prophask Asamoah. "Nana Yaw Frimpong: A royal footprint of modern Ghanaian painting." Journal of African History, Culture and Arts 1, no. 1 (December 8, 2021): 1–10. http://dx.doi.org/10.57040/jahca.v1i1.90.
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Ghanaian modernist painting started with the establishment of Achimota school in 1927 where the artists learned to combine the traditional Ghanaian artforms with the European representation artistic techniques. Though the influences of this new movement went beyond the academically trained artists to affect the self-trained artists, very little is known about it. The main objective of this paper was to conduct a biographical study of Nana Yaw Frimpong who without any art college training, booked a notable slot for himself through his painting within the modern Ghanaian art space. An Iconographic analysis of five paintings of Nana Yaw Frimpong using Erwin Panofsky’s three-step approach which include 1. the pre-iconographical description, 2. the iconographical analysis, and 3. the iconological interpretation. The selected paintings were compared to the philosophical underpinnings of the works of the earlier academically trained artists from the Achimota school. The findings revealed that the philosophy and style of Nana’s paintings were the philosophical foundations of modern painting in Ghana hence, placing Nana within the Ghanaian modern painting space.
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Hermann M. Niemeyer, Diego Salazar, Helena Horta Tricallotis, and Francisco T. Peña-Gómez. "New Insights into the Tiwanaku Style of Snuff Trays from San Pedro de Atacama, Northern Chile." Latin American Antiquity 26, no. 1 (March 2015): 120–36. http://dx.doi.org/10.7183/1045-6635.26.1.120.
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Snuff trays are conspicuous objects that are found in archaeological contexts throughout Andean South America. At San Pedro de Atacama, in northern Chile, snuff trays that exhibit iconographic motifs similar to those found on Tiwanaku megalithic monuments have been assigned to the Tiwanaku style. In the present work, we propose a new definition for this style based on the occurrence of three morphological features: an overall trapezoidal shape, incurving sides, and sharp top corners. This group includes trays with iconography from the previously defined Tiwanaku style, as well as other trays without iconography. Principal component analysis shows that Tiwanaku-style trays with and without iconography make up a single group that is significantly different from plain, largely rectangular San Pedro-style trays. The relative proportion of Tiwanaku-style trays with and without iconography does not differ between cultural periods and archaeological sites. The results point to shape as an important trait for assigning trays to styles. Furthermore, the results show that during the Middle period four main types of snuff trays were in use: Tiwanaku trays with and without iconography and local San Pedro trays, also with and without iconography. We explore the possible social implications of this co-occurrence of styles.
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Gavrilovic, Dragana, and Kristina Ponjavic. "Re-conservation and reinpretation of a Roman Fresco from Sirmium." Starinar, no. 70 (2020): 225–37. http://dx.doi.org/10.2298/sta2070225g.
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This paper deals with the re-conservation of an old conserved unit and the new iconographic analysis of a wall painting that was kept in the Museum of Srem?s (Sremska Mitrovica, Serbia) storage depot. Experts from the Provincial Institute for the Protection of Cultural Monuments started but did not finish the reconstruction in the 1990s, which has led to its further deterioration. Their conservation and restoration work on these fragments were extensive and offered a wealth of extraordinary technological and iconographic information.
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Vinzent, Jutta. "In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain." Exchange 39, no. 1 (2010): 29–48. http://dx.doi.org/10.1163/016627410x12559405201117.
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AbstractThis essay explores contemporary religious art in Britain through the lens of Homi K. Bhabha’s concept of hybridity. While he leaves it rather ‘ambivalent’, this essay suggests that in visual representations, various forms of hybridity can be distinguished: inculturation, interculturation and transculturation. These three types, hijacked from religious dialogue discourses, show a variety of power relations in representation and context; while incultural elements are based on a dominant versus subordinate role, intercultural ones form a dialogue; both expand iconographic vocabularies. Transcultural symbols refer to those which are existing parts of a variety of iconographies; these thus ‘merge’ visually different cultural heritages; their interpretation is, in the true sense of Bhabha, hybrid. The essay concludes by referring to the limits of transcultural symbols, which accept losses, blurs and shifts. The entire analysis is based on Hindu and Christian iconographies exploited by Caroline Mackenzie in her four wooden panels located for the Catholic Church in St. Helen in Caerphilly (Wales), commissioned in 1999.
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Cahyadi, I. Wayan Agus Eka. "Portrait Of The Japanese Colonial Period In The Wayang Kamasan Illustration Of ‘Lintang Perau Pegat’ At The Klungkung Royal Palace." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 1 (June 8, 2021): 21–26. http://dx.doi.org/10.31091/lekesan.v4i1.1417.
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The Wayang Kamasan illustrations at the Klungkung Royal Palace store traces of the history of Bali during the Japanese colonial period. This research analyzed one located in the Bale Kambang pavilion with the ‘Lintang Perau Pegat’ scene to discern representation in that era. An art historical method was used drawing from field observation and literature resources with an iconography and iconology analysis approach of Erwin Panofsky. Findings from a pre-iconography phase showed that this illustration presents a scene about the splitting of a Japan-flagged ship by a large fish. An iconographic analysis was about themes and concepts regarding belief in the strength of nature (gods), which can influence human life and undermine the glory of human beings. Given the psychological atmosphere during the Japanese colonial period, hence, this illustration is the crystallization of a symbol from an attitude of resistance amidst helplessness towards a ruler (the Japanese occupation government), and hopes for the presence of the power of the gods to help eliminate oppression and misery that occurred during that era in Bali.
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Krevchenko, Elena Viktorovna. "The symbolism of mappae mundi: genesis and evolution of historical images." Культура и искусство, no. 1 (January 2020): 43–55. http://dx.doi.org/10.7256/2454-0625.2020.1.30247.
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The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.
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Rony, Rony. "Ikonografi Arsitektur dan Interior Masjid Kristal Khadija Yogyakarta." Journal of Urban Society's Arts 1, no. 2 (October 10, 2014): 121–34. http://dx.doi.org/10.24821/jousa.v1i2.793.
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Masjid Kristal Khadija (MKK) adalah sebuah masjid yang berada di kompleksYayasan Budi Mulia Dua di Yogyakarta. Masjid ini memiliki keunikan pada arsitekturdan desain interiornya. MKK sebagai karya seni akan dikaji dengan metodeikonografi. Metode ini adalah suatu studi untuk mengungkapkan makna dari suatukarya seni dengan tahapan-tahapan, yakni deskripsi praikonografi, analisis ikonografi,dan interpretasi ikonologi. Ketiga proses tahap kajian tersebut bersifat prerequisiteatau prasyarat dari tahapan satu ke tahapan selanjutnya. Hasil penelitian padatahap deskripsi praikonografi bahwa wujud arsitektur dan interior MKK memilikiciri-ciri masjid bergaya Persia, tetapi masjid ini bukan termasuk tipe hipostyle karenabangunan masjid yang berdiri sendiri dan tidak dilengkapi riwaqs. Analisis ikonografimenghasilkan makna yang ditunjukkan oleh tema feminin dengan konsep materialkaca cermin yang diasosiasikan aktivitas kaum wanita, yakni bersolek. Interpretasiikonologi dihasilkan makna secara simbolis bahwa MKK merepresentasikanide dan gagasan tokoh dibaliknya. Penafsiran makna ini dapat menambah muatanfilosofi MKK sebagai ikon kebanggaan Yayasan Budi Mulia Dua. The Iconographic on the Architecture and Interior of Masjid Kristal KhadijaYogyakarta. The Masjid Kristal Khadija is a mosque located in a high school complexunder the auspices of the Budi Mulia Dua in Yogyakarta. This mosque is unique in itsarchitecture and interior design. The mosque as a work of art is analyzed by the methodof iconography. This method is a study to reveal the meaning of a work of art with thestages namely; pre-iconographical description, iconographical analysis, and iconologicalinterpretation. There is a prerequisite relationship among those stages, meaning thatthe first stage has to be conducted before the second and the second has to be completedbefore the last one. The result of the pre-iconographical description stage shows thatthe architecture and interior of Kristal Khadija is characterized by the Persian stylemosque, yet it is not a hypostyle mosque as it is a stand-alone mosque without riwaqs.The iconographical analysis of the mosque indicates that it was built under the femininetheme shown by the use of mirror glass as its material concept that is associated withwomen’s activity, i.e. dressing up. The iconological interpretation generates a symbolicmeaning that Masjid Kristal Khadija represents the ideas of the figures behind it. Theinterpretation of its meaning may add philosophical values to this mosque as an icon ofBudi Mulia Dua Foundation pride.
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Burganov, Aleksandr A. "ICONOGRAPHY OF LITURGICAL COMPOSITIONS IN THE PAINTING PROGRAM OF THE КRONSTADT ST. NICHOLAS NAVAL CATHEDRAL." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 124–36. http://dx.doi.org/10.28995/2073-6401-2021-1-124-136.
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The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.
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Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–18. http://dx.doi.org/10.1145/3458885.
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Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may support iconography research and education. In this article, we introduce a novel paintings dataset for iconography classification and present the quantitative and qualitative results of applying a Convolutional Neural Network ( CNN ) classifier to the recognition of the iconography of artworks. The proposed classifier achieves good performances (71.17% Precision, 70.89% Recall, 70.25% F1-Score, and 72.73% Average Precision) in the task of identifying saints in Christian religious paintings, a task made difficult by the presence of classes with very similar visual features. Qualitative analysis of the results shows that the CNN focuses on the traditional iconic motifs that characterize the representation of each saint and exploits such hints to attain correct identification. The ultimate goal of our work is to enable the automatic extraction, decomposition, and comparison of iconography elements to support iconographic studies and automatic artwork annotation.
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Raaphorst, Kevin, Gerda Roeleveld, Ingrid Duchhart, Wim Van der Knaap, and Adri Van den Brink. "Reading landscape design representations as an interplay of validity, readability and interactivity: a framework for visual content analysis." Visual Communication 19, no. 2 (June 11, 2018): 163–97. http://dx.doi.org/10.1177/1470357218779103.
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Considering the importance of visual representations for communication between stakeholders in landscape planning and design processes, the authors identify a lack of critical visual research methods supportive of the disciplines involved. As part of such a method, they have developed an analytical framework based on semiotic and iconographic theory that enables a visual content analysis and iconographic interpretation of landscape design representations. Two projects from Rebuild by Design, a participatory transdisciplinary design competition organized in the New York City area after hurricane Sandy, were analysed to demonstrate this framework. The article presents a semiotic vocabulary based on four categories: medium, mode, formulation and knowledge with which to ‘read’, discuss and potentially create design representations. This enables a syntactic analysis for assessing the semiotic complexity of design representations in terms of validity, readability and interactivity. This assessment enables further qualitative study of the production and interpretation of landscape design representations in practice.
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Demchuk, Stefaniia, and Yuliia Kizyma. "Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk." Text and Image: Essential Problems in Art History, no. 1 (2020): 102–13. http://dx.doi.org/10.17721/2519-4801.2020.1.07.
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Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.
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Grund, Angelika. "ICONCLASS. On subject analysis of iconographic representations of works of art." KNOWLEDGE ORGANIZATION 20, no. 1 (1993): 20–29. http://dx.doi.org/10.5771/0943-7444-1993-1-20.
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Hirata, Marisa Correia. "Iconography and nursing – why and how?" Online Brazilian Journal of Nursing 2, no. 2 (June 20, 2004): 16–19. http://dx.doi.org/10.17665/1676-4285.20034834.
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This article presents the iconography as a source of research for the nursing history and shows that the act of studying artworks is relevant because they contain collective mental representations. When an art piece pictures healthcare, it will provide us with clues on care activity and also on how, where, and who is practicing it. The author exemplifies and comments on moments of iconographic analysis that is the methodology used to reveal the intrinsic and profound meaning of art works considered, in turn, a society’s depository of beliefs and ideas. Finally, the author emphasizes the pleasant meeting of nursing and art, placing into perspective the importance of care as the basis for the nurse’s professional identity, and looks forward into a future in which nurses can be social, economically, and juridical recognized.
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Melnikova-Grigorjeva, Jelena, and Olga Bogdanova. "An owl and a mirror: On Bosch’s visual motif’s meaning." Sign Systems Studies 38, no. 1/4 (December 1, 2010): 210–41. http://dx.doi.org/10.12697/sss.2010.38.1-4.08.
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Our main goal in this paper is to study one Hieronymus Bosch’s iconographic motif, an owl, considering the iconography, production of meaning and connotations. Pursuant to the comparative analysis of the variants of the formal model we intend to ascertain the meaning of Bosch’s “owl” motif. We supplement its pure visual legend throughout European art history with mythological and symbolic (mainly verbal) legend. Methodologically, we base the vast range of interpretations on the school of history of ideas (Aby Warburg, Ernst Gombrich, Erwin Panofsky, Francis Yates, Carlo Ginzburg) and the Tartu-Moscow school of semiotics of culture and text analysis. The article concludes that the “owl” motif, including in the works of Bosch, conveys the semantic aura of the “blind sight” (“blind foresight”). This ideological concept is in turn included into the archaic concept of mutual communication between the worlds carried out by a mythological observer — shaman, trickster.
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Schönberger, Sarah-Allegra. "Iconography transformed: a few notes on the god Vaiśravaṇa." Approaching Religion 6, no. 2 (December 14, 2016): 112–24. http://dx.doi.org/10.30664/ar.67596.
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This article aims at an integration of the topic of iconographic transformation processes into a wider context of meaning, in order to enhance its importance from a religious and cultural-scientific point of view. In this sense, my research is not interested in asking how a deity is depicted, but why it is depicted in a particular way; what conclusions can be drawn, and what factors might influence artistic work? Thus, the topic of the image’s context, its usage, and its meaning become the focus of attention. By taking the example of the god Vaiśravaṇa, my analysis of ‘religious images’ of him is composed of two interlinked parts: an exemplary study of a transcultural iconographic transformation process, as well as an analysis of the images’ context.
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Gavrilovic, Nadezda. "Ceramic crustulum with the representation of Nemesis-Diana from Viminatium: A contribution to the cult of goddess nemesis in roman provinces of Central Balkans." Starinar, no. 61 (2011): 191–203. http://dx.doi.org/10.2298/sta1161191g.
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The analysis of iconographic representation from ceramic medallion/cast for cakes (crustulum) from Viminatium showed that we are dealing with a very rare type of iconographic representation of goddess Nemesis-Diana. The monuments with syncretistic presentation of goddess Nemesis-Diana are not only very rare, but they imply a very close connection of the goddess with imperial cult and with games and gladiator fights in amphitheatre. Overview and analysis of all so far known cult monuments of goddess Nemesis, opened a question about the correlation of goddess and presumed amphitheatre in Viminatium and also a question about new aspect of honouring Nemesis in the territory of Roman provinces of Central Balkans - as a patroness of agonistic competitions and protectress of gladiatorial games and gladiators.
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Gavrilovic-Vitas, Nadezda. "Monumental altar from Singidunum with scenes of a sacrificial procession - pompa et immolatio." Starinar, no. 70 (2020): 95–109. http://dx.doi.org/10.2298/sta2070095g.
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A monumental altar was found in the very centre of Belgrade, ancient Singidunum, in 1932, with iconographic scenes of the sacrificial procession for a ritual animal sacrifice - immolatio. The scenes depict the procession of sacrificial animals to the altar known as pompa, by the victimarii, but also represent priests of a lower rank (flamines minores), with ritual utensils like a wine-pitcher, patera and acerra, used for the ritus of purification which precedes the sacrifice and for ritual acts during the sacrifice. The altar from Singidunum represents a unique monument with the described iconography in the territory of Moesia Superior and it has only been published in catalogue form to date, never fully analysed or interpreted. Through the analysis of its iconography, typology, function, geographically closest analogies and possible context of its finding, new conclusions regarding the praxis of public ritual sacrifice are brought to light related to the period from the second half of the 2nd century to the first decades of the 3rd century in Singidunum, one of the main centres of Moesia Superior.
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Minnich, Nelson H. "Raphael's Portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi: A Religious Interpretation." Renaissance Quarterly 56, no. 4 (2003): 1005–52. http://dx.doi.org/10.2307/1261978.
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AbstractA recent cleaning of the painting, scientific examinations of it, the publication of new letters related to it, and studies of the prophetic culture in which it was produced all call for a reevaluation of the traditional interpretations of Raphael's portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi. After a close analysis of the major iconographic details in the painting, the strengths and weaknesses of the various secular and religious interpretations of the painting are reviewed. That the painting is primarily religious in theme with prophetic and devotional overtones is argued as the most reasonable interpretation, given the iconographic details and context.
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Ануфриева, Наталья. "Лицевые списки Слова Палладия мниха в старообрядческой книжности (новое в изучении иконографии памятника)." Acta Neophilologica 2, no. XXI (December 1, 2019): 229–42. http://dx.doi.org/10.31648/an.4758.
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This article is dedicated to an iconographic analysis of the miniatures in the medieval Russian literary artefact Sermon of Palladii the Monk. Systematisation of the fundamental pictorial attributes of the manuscript and the use of six different illustrated manuscripts from various collections and archives allows us to identify three stable iconographic editions. Emphasising characteristic peculiarities of the artefact and designating the fundamental features inherent in the development of bibliographic art in different regions can help us to reach a comprehensive evaluation of the arte-fact, its meaning, and the ways in which bibliographic art employed visual expression to emphasise the essentials of the Christian truth.
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Helytovych, Mariia. "Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 73–88. http://dx.doi.org/10.37131/2524-0943-2019-39-05.
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The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century
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Cobuz, Raluca-Georgiana. "The Passion Cycle in the Sanctuaries of the Saxon Fortified Churches in Southern Transylvania." Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (November 9, 2021): 43–66. http://dx.doi.org/10.24193/subbhist.2021.spiss.03.
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"This paper aims to reconstitute the pictorial program of some medieval Saxon churches’ sanctuaries, which are Mălâncrav, Curciu, Râşnov and Sibiu, with particular interest on the images regarding the Passion Cycle. The article will try to bring a stylistic and iconographic analysis of the Passion Cycle in the sanctuary, episodes that usually appear on the northern choir wall. Therefore, we aim to highlight the reasons why this Passion narrative was chosen to decorate this part of the sanctuary and what was its role both regarding the place that it occupies, that is near the most sacred place of the church, and also the role it had in the religious services. Given the complexity of the narrative programs and the strong link with the biblical texts, the paintings have a double role, both educational and devotional. Keywords: Passion Cycles, mural painting, fortified churches, iconography "
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Borges, Patricia Maria. "A Iconografia como metodologia de análise e leitura de obras." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 6, no. 3 (December 15, 2022): 197–212. http://dx.doi.org/10.29181/2594-6463-2022-v6-n3-p197-212.
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A Iconografia como metodologia de análise e leitura de obras ResumoO objetivo deste artigo foi analisar e apresentar de forma didática o método iconográfico proposto por Erwin Panofsky e verificar a sua utilidade na aplicação concreta a uma obra de arte. O estudo iniciou com uma pesquisa resumida sobre as origens, características e evolução da iconografia e do método de análise iconológico, enumerando os principais antecedentes do estudo iconográfico; seguindo com a descrição das três categorias em que subdivide o método por ele desenvolvido. Visando exemplificar a aplicação do método, realizamos a análise da pintura intitulada Le Radeau de la Méduse (Balsa da Medusa, 1818), de Théodore Géricault, partindo da identificação dos elementos simbólicos para a compreensão da obra como uma alegoria.Palavras-chave: Iconografia. Iconologia. Alegoria. História da Arte. Erwin Panofsky. Iconography as a methodology for analyzing and reading works AbstractThe objective of this article was to analyze and depict, in a didactic way, the iconographic method proposed by Erwin Panofsky verifying its helpfulness in the concrete application of an artwork analysis. The study began with a brief survey on the origin, characteristics and evolution of iconography and the iconological analysis method, enumerating the main antecedents of the iconographic study; followed by a description of the three categories into which the method he developed was subdivided. Aiming to exemplify the application of the method, we carried out an analysis of the painting entitled Le Radeau de la Méduse (Raft of the Medusa, 1818), by Théodore Géricault, starting from the identification of the symbolic elements in order to understand the work as an allegory.Keywords: Iconography. Iconology. Allegory. Art History. Erwin Panofsky. La iconografía como metodología de análisis y lectura de obras ResumenEl objetivo de este artículo fue analizar y presentar de forma didáctica el método iconográfico propuesto por Erwin Panofsky y verificar su utilidad en la aplicación concreta sobre una obra de arte. El estudio se inició con una pesquisa resumida sobre los orígenes, características y evolución de la iconografía y del método de análisis iconológico, enumerando los principales antecedentes del estudio iconográfico; siguiendo con la descripción de las tres subcategorías en las que se subdivide el método por él desarrollado. Con el objetivo de ejemplificar la aplicación del método, realizamos el análisis de la pintura intitulada Le Radeau de la Méduse (La Balsa de La Medusa, 1818), de Théodore Géricault partiendo de la identificación de los elementos simbólicos para la comprensión de la obra como una alegoría.Palabras clave: Iconografía. Iconología. Alegoría. Historia del Arte. Erwin Panofsky.
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Sá Pereira, António Manuel Portela de, and Carla Sofía Fernandes Xavier. "Análise de uma planta de Ponte de Lima (17--/18--): contributo para o estudo da paisagem urbana = Analysis of an image of Ponte de Lima (17--/18--): A contribution to the study of the urbanlandscape." Estudios Humanísticos. Historia, no. 16 (February 3, 2020): 199. http://dx.doi.org/10.18002/ehh.v0i16.6132.
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<p>Entre la documentación perteneciente al Convento de Pópulo (Braga), conservada en el Archivo Distrital de Braga, hay una representación iconográfica, sin fecha, representando un paisaje que identificamos con Ponte de Lima. A partir de los interrogantes planteados al analizar este documento, planteamos una metodología de investigación centrada en la comparación entre diferentes fuentes y esta representación<br />iconográfica, como una contribución al estudio arqueológico e histórico del paisaje urbano</p><p>In the documentation belonging to the Convent of Pópulo (Braga), preserved in Braga’s District Archive, there is an iconographic representation, undated, picturing a landscape that we identified as being Ponte de Lima. Based on the questions that emerged from the document observation, we rehearsed a methodology of investigation centred in the comparison of different sources and this specific iconography, as a contribution to the archaeological and historical study of urban landscape</p>
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Hončová, Adéla. "Medicina et ars. Ikonografická analýza reversů dvou medailí Antonia Abondia." Numismatické listy 76, no. 1-4 (2022): 197–205. http://dx.doi.org/10.37520/nl.2021.010.
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The study focuses primarily on the iconographic analysis of two medals by Antonio Abondio, portraying the prominent physicians Thomas Jordan von Klausenburg and Johann Crato von Kraftheim. Attention is paid to the reverses images and their possible models.
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Zivkovic, Milos. "Warrior saints at Nerezi - the selection of figures and other remarks on their iconography." Zbornik radova Vizantoloskog instituta, no. 59 (2022): 211–49. http://dx.doi.org/10.2298/zrvi2259211z.
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The paper deals with the figures of warrior saints in the nave of the Church of St. Panteleimon in Nerezi. Within this group of saints, in addition to the most famous, easily recognizable ones, there are also those warriors on the identity of which scholars have expressed different opinions. Based on the iconographic analysis, the depictions of the saints in question are identified in the article. The figures of some military saints in Nerezi are also analyzed in the broader context of their representation in the art of the Byzantine cultural sphere. In addition to the above, attention is paid to the specific way of grouping the Nerezi warriors, as well as to two different iconographic models of depicting its members.