Relevant bibliographies by topics / Reliquary

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

Academic literature on the topic 'Reliquary'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Reliquary"

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Waldrep, G. C. "Reliquary." Iowa Review 42, no. 1 (April 2012): 20–21. http://dx.doi.org/10.17077/0021-065x.7110.

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Klatt, L. S. "Reliquary." Iowa Review 35, no. 3 (December 2005): 104. http://dx.doi.org/10.17077/0021-065x.6058.

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Blum, Alan. "The tobacco reliquary." Canadian Medical Association Journal 187, no. 2 (December 1, 2014): 133–34. http://dx.doi.org/10.1503/cmaj.141231.

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Barabtarlo, Gennady, and Nabokov. "Nabokov's Reliquary Poem." Russian Review 52, no. 4 (October 1993): 540. http://dx.doi.org/10.2307/130651.

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Mochizuki, Mia M. "The Reliquary Reformed." Art History 40, no. 2 (March 20, 2017): 430–49. http://dx.doi.org/10.1111/1467-8365.12313.

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Carter, Susan E. Carter. "Reliquary for My Braid." Frontiers: A Journal of Women Studies 17, no. 2 (1996): 121. http://dx.doi.org/10.2307/3346601.

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Marqués Serra, David. "Des de la concepció medieval fins a la narració actual: El reliquiari a través de l’obra de Joan Millet." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 145. http://dx.doi.org/10.7203/scripta.0.16361.

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Resum: La present reflexió s’ocupa del tema del reliquiari, originàriament destinat a la veneració d’elements sagrats, i aprofundeix en la seua constant evolució fins a l’era contemporània, a través de la producció de Joan Millet Bonet. Així doncs, es tracta de fer una comparació inter-temporal amb la intenció d’extraure els possibles vincles que puguen oferir-nos les diferents claus discursives necessàries perquè aquest objecte continue mantenint la seua naturalesa inherent. De tal manera, i inevitablement, fem al·lusió a les tangencials qüestions espirituals que acompanyen l’objecte sacre, tant en l’antiguitat com en l’actualitat. Tot això, necessàriament, configura els entorns en els quals se circumscriuen els reliquiaris en els seus diferents temps i, al seu torn, per extensió, també condicionen i conformen les seues possibilitats formals i estètiques.Palraules clau: Reliquiari, objet trouvé, ready made, objecte trobat, art, disseny, artesania, Joan Millet, espiritualitat.Abstract: This investigation addresses the theme of the reliquary, originally destined to the veneration of sacred elements, and goes in depth in the study of its constant evolution to the contemporary era, through the production of Joan Millet Bonet. Thus, an intertemporal comparison is proposed with the aim of extracting the possible links that can offer us the different discursive keys necessary for the object to maintain its inherent nature. In this way and inevitably, we allude to the tangential spiritual issues that accompany the sacred object, both in ancient times and the present day. All this, necessarily, configures the environments in which the reliquaries are circumscribed in their different times and, in turn, by extension, also condition and shape their formal and aesthetic possibilities.Keywords: reliquary, objet trouvé, ready made, object found, art, design, crafts, Joan Millet, spirituality.
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Sharpe, Richard. "King William and the Brecc Bennach in 1211: reliquary or holy banner?" Innes Review 66, no. 2 (November 2015): 163–90. http://dx.doi.org/10.3366/inr.2015.0096.

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In his Rhind Lectures of 1879 Joseph Anderson argued for identifying the Monymusk Reliquary, now in the National Museum of Scotland, with the Brecc Bennach, something whose custody was granted to Arbroath abbey by King William in 1211. In 2001 David H. Caldwell called this into question with good reason. Part of the argument relied on different interpretations of the word uexillum, ‘banner’, taken for a portable shrine by William Reeves and for a reliquary used as battle-standard by Anderson. It is argued here that none of this is relevant to the question. The Brecc Bennach is called a banner only as a guess at its long-forgotten nature in two late deeds. The word brecc, however, is used in the name of an extant reliquary, Brecc Máedóc, and Anderson was correct to think this provided a clue to the real nature of the Brecc Bennach. It was almost certainly a small portable reliquary, of unknown provenance but associated with St Columba. The king granted custody to the monks of Arbroath at a time when he was facing a rebellion in Ross, posing intriguing questions about his intentions towards this old Gaelic object of veneration.
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Bertram, Jerome, and John A. Goodall. "The Remedius and Maximus Reliquary." Antiquaries Journal 82 (September 2002): 349–53. http://dx.doi.org/10.1017/s0003581500073881.

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The Carmelite monastery of Hoogstraat, like many English communities on the Continent, acquired a considerable number of treasures over the centuries, many of which were somehow smuggled into England when the nuns fled the Revolution, remaining at Chichester until the community was finally dissolved in 1994. Although much was sold, the major Carmelite relics went to Rome and the remaining relics were given to the Oxford Oratory. Among those now in Oxford is an important medieval silver-gilt reliquary, which has been deposited at the Ashmolean Museum.
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Armitage, Simon. "Last, and: Peacetime, and: Reliquary." Sewanee Review 126, no. 3 (2018): 441–43. http://dx.doi.org/10.1353/sew.2018.0044.

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Dissertations / Theses on the topic "Reliquary"

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Plylar, David. "Reliquary : for piano and orchestra /." Digitized version, 2008. http://hdl.handle.net/1802/7671.

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Thesis (Ph. D.)--University of Rochester, 2008.
Duration: ca. 45:00. Includes program and performance notes. Accompanied by: The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality / by David Henning Plylar (viii, 196 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7671
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Maxwell, Michael Gordon. "The Human Reliquary: Origin, Continuity, & Lateness." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2194.

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This writing discusses the topic of lateness - mortality and how it affects my creative practice regarding the themes of memory and thought, experience and perception, depression and suicide, and their connection to the progression of my artistic work leading to my MFA thesis performance. I refer to my own experiences with clinical depression, anxiety, and suicidal moments to contextualize not only my own work, but also to extend Edward Said’s definition of late style. Establishing an analogy for lateness with hourglass imagery, I begin with the definition of perpetual lateness or late style and cyclical existence within Said’s linear episodes. Within the paper, I explore the impact of repetitious thought on my own issues with verbal and written communication and my creative approaches. Amongst descriptions of artistic influence and process, I express an interest in expressive art therapies, mindfulness, and exploratory meditation through sound. Through redefining late style and timeliness, I associate my processes in sound art with repetition, emanation, separation, isolation and their influential origins. I use the discussion of the progression of my sound art to inform how I arrive at the concepts for my thesis performance of The Human Reliquary, including the construction of experimental wearable instrumentation, costuming, and exploring butoh styles of improvisational movements.
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Debanné, Janine. "Guarino Guarini's SS. Sindone Chapel : between reliquary and cenotaph." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23318.

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Guarino Guarini's SS. Sindone Chapel and its relic offer the occasion to contemplate the paradox of the Incarnation in architecture--a dialectic of presence and absence. The thesis begins with a return to the Gospel accounts of the Empty Tomb, and examines the tradition of reliquary and martyria which the Chapel is inscribed in. The Incarnation theme is then traced to the late seventeenth century context of the Chapel and is considered in the Counter-Reformation context of Turin. The architectural organization of the theme of presence and absence is then explored in the Chapel. In Part II, an examination of Architettura Civile, Guarini's treatise on architecture, seeks to understand the theory of parallel projection (ortografia) with regards to the Chapel's themes. In the last stage Guarini's philosophical treatise sheds some interesting light on ortografia--Presence and absence weave an architectural idea, a geometrical theory, a theological mystery.
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Hunvald, Katharine C. "The Warnebertus Reliquary : a study in early medieval metalwork /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137713.

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Lai, I.-Mann. "The Famensi reliquary deposit : icons of esoteric Buddhism in ninth-century China." Thesis, SOAS, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428500.

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Migdal, Anna. "Regina Cœli : les images de la Vierge et le culte des reliques : tableaux-reliquaires polonais à l’époque médiévale." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20045/document.

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Le corpus d’œuvres et la synthèse des études menées sur les images de dévotion à l’époque médiévale n’ont jamais approfondi, dans le contexte européen, la question des peintures mariales ayant fonction de porte-reliques. Le modèle de tableau-reliquaire : panneau unique, diptyque et triptyque comprenant le portrait de la Vierge à l’Enfant peint sur bois (plus rarement sur verre églomisé) enchâssé dans un large cadre incrusté de reliques (parfois de pierres précieuses) se répandit particulièrement sur le territoire de la Petite-Pologne à partir des environs de 1420. Les reliquaires polonais, connus jusqu’au début du XVIe siècle, doivent sans doute être considérés comme une adaptation des types iconiques et formels de provenance byzantine, lesquels furent réinterprétés dans la peinture du Trecento italien. Il s’agit notamment du modèle siennois de retable portatif marial popularisé dès les années 1330-1340. D’après l’étude comparative des œuvres, relative à leurs caractéristiques similaires et leur ancienneté, on envisage l’arrivée d’un tel concept formel en Pologne soit directement de l’Italie, soit par l’intermédiaire de la Bohême.L’expansion des tableaux-reliquaires, typiques de l’art toscan, s’inscrivit au XVe siècle en Europe centrale dans le mouvement général du renouveau de piété, qu’était la devotio moderna. De sorte qu’à côté des représentations singulières, spécialement vénérées au cours des offices liturgiques et paraliturgiques, on voit se répandre des reliquaires moins coûteux dans l’espace privé. Appréciés dans l’intimité des couvents – franciscains et dominicains –, ainsi que dans celle du quotidien des laïcs, ils étaient utilisés comme des autels domestiques ou bien comme des autels pliables de voyage. Ces images d’affection religieuse constituent un phénomène artistique du bas Moyen Âge. Et, quelques-uns des reliquaires semblables connus postérieurement n’assurent pas une véritable continuité de l’ancien modèle à l’époque moderne
Scholarly investigation of devotional images from the medieval period has never explored, in a European context, the question of Marian paintings functioning as portable relics. The model of the « picture-reliquary » : a single, diptych, or triptych panel comprsing the por-trait of the Virgin and Child painted on wood (or, more rarely, on gilded glass, verre églomisé) set in a large framework encrusted with relics (occasionally with precious stones) was particularly widespread in the territory of Little Poland from c. 1420. Polish reliquaries, known until the beginning of the 16th century, should be considered as an adaptation of iconic types and forms of Byzantine provenance, which were reinterpreted in the painting of the Italian Trecento. Of particular note is the Siennese model of the portable Marian altar piece made popular from the 1330s-40s. From the comparative study of the works, concerning their similarities and their antiquity, one envisages the advent of such a formal concept in Poland either directly from Italy, or by the intermediary of Bohemia.The diffusion of picture-reliquaries, typical of Tuscan art, forms part of the general movement toward a renewal of piety in central Europe in the 15th century, the devotio moderna. As a result, alongside singular representations, especially venerated in the course of liturgical or paraliturgical offices, one sees less costly reliquaries spread in private space. Appreciated in the intimate setting of convents – Franciscan and Dominican – as well as that of the daily life of the laity, these relics were used as domestic altars or as folding altars for travel. These images of religious affection constitute an artistic phenomenon of the late Middle Ages. And, several similar reliquaries known later do not guarantee a veritable continuity of the ancient model to the modern era
Die erhaltenen Überblicksdarstellungen und Spezialuntersuchungen zu den Frömmigkeitsbildern des Mittelalters haben sich niemals – im europäischen Kontext – mit der Frage derjenigen Mariendarstellungen auseinandergesetzt, die die Funktion von Tragereliquien inne hatten. Das Modell des Reliquien-Bildes – einfaches Tafel-bild, Diptychon oder Triptychon mit einer Darstellung der Jungfrau mit dem Kind, gemalt auf Holz (seltener auf Glas), umschlossen von einem breiten Rahmen, in den Reliquien (mitunter auch Edelsteine) eingefügt sind – verbreitet sich ca. ab 1420 ins-besondere auf dem Gebiet Kleinpolens. Diese polnischen Reliquiare, bekannt bis zum Beginn des 16. Jahrhunderts, können ohne Zweifel als Adaptation ikonischer und formaler Typen byzantinischer Provenienz angesehen werden, die in der Malerei des italienischen Trecento wiederinterpretiert wurden. Dabei handelt es sich vor allem um das Sieneser Model des marianischen Tragaltars, verbreitet seit den Jahren 1330-1340. Folgt man den vergleichenden Untersuchungen der erhaltenen Stücke mit Blick auf ihre übereinstimmenden Charakteristika und ihr Alter, wird das Auf-greifen eines solchen formalen Konzepts in Polen entweder direkt aus Italien oder indirekt über Böhmen wahrscheinlich.Die Ausbreitung dieser Tafel-Reliquiare, typisch für die toskanische Kunst, verbindet sich im 15. Jahrhundert in Mitteleuropa mit der umfassenden Bewegung einer Er-neuerung der Frömmigkeit, bekannt auch unter dem Namen devotio moderna. Dies führt dazu, daß neben einzelnen, vor allem im Rahmen liturgischer oder paraliturgi-scher Veranstaltungen verehrten Darstellungen, zunehmend weniger kostspielige Reliquiare auch in den privaten Raum vordringen. Gehütet sowohl in der Intimität der Klöster – franziskanisch und dominikanisch – als auch im täglichen Lebensraum der Laien, wurden sie als Hausaltäre oder auch als zusammenklappbare Reisealtäre verwendet. Diese Darstellungen religiösen Affekts stellen ein künstlerisches Phäno-men des Spätmittelalters dar. Einige der ähnlichen, allerdings später entstandenen Reliquiare garantieren allerdings keine überzeugende Kontinuität vom alten Modell hin zur Neuzeit
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Quinn, Jayna Brown. "Traces of Existence." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2892.

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This project report accounts for my final MFA project, Traces of Existence. This body of work began as an exploration, partially borne of the love of genealogical research translated into visual art by exploring the things my ancestors touched, be it ephemera, the soil they lived on, or artifacts they left behind, and partly as a pathway through which I could learn to understand more about my own identity, all the while finding beauty in the mundane. Although the works are personal, it is my hope that the viewer will respond to them in his/her own way, and that considering them will create an interest in the viewer to discover more about his/her own lineage. I believe we are all a part of a global family, and because of this familial connection, it is my hope that many viewers will have a dual response; one of appreciation for the aesthetic qualities of the work, and a sense of belonging.
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Tekippe, Rita Wardein. "Procession, Piety, and Politics: Three Medieval Rheno-Mosan Reliquary Shrines and the Cult Communities for Bishop-Saints Servatius of Maastricht, Eleutherius of Tournai, and Remaclus of Stavelot." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1220460268.

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Tekippe, Rita. "Procession, piety, and politics : three medieval Rheno-Mosan reliquary shrines and the cult communities for Bishop-Saints Servatius of Maastricht, Eleutherius of Tournai, and Remaclus of Stavelot /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109870772.

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Martins, Jordan Ávila, and Jordan Ávila Martins. "Inventário do artista: um pequeno relicário de grandes afetos." Universidade Federal de Pelotas, 2017. http://guaiaca.ufpel.edu.br:8080/handle/prefix/3918.

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Lembranças movimentam e motivam a disserta-ção de Mestrado em Artes Visuais no PPGAV no Centro de Artes da UFPEL, intitulada Inventário do Artista: um pequeno relicário de grandes afetos. Esta investigação pensa a relação entre afetividade e poética, inventariando da memória os fragmentos-relíquias que, tão potentes para a criação e encontrados no percurso da minha formação enquanto artista, recompõem e reinventam minhas histórias e minha produção. Apresento, assim, em um relicário de si, o registro do passado revisitado como forma de aproximar arte e vida. A pesquisa é conduzida e direcionada a partir de determinados concei-tos operadores que estão presentes e se tornam peças fundamentais para o entendimento do meu trabalho: as memórias afetivas, as histórias, o cotidiano, o uso e a apropriação de objetos e suas materialidades. Todo percurso apresentado em Inventário do artista tem os relicários como fio condutor e os objetos e outros fragmentos, que são tratados como relíquias, integram e coexistem neste percurso.
Memories move and motivate the Visual Arts Master Degree at the PPGAV of the Centro de Artes of the UFPEL, dissertationentitled inven-tory of the artist: a small reliquary of great affec-tions. This investigation think the relationship between affectivity and poetic, inventorying the fragments-relics from memory which - so powerful for creation and found in the course of my formation as an artist - recompose and reinvent my stories and my production. I there-fore present in a reliquary from myself a record from the past revisited as a way to approximate art and life. The research is conducted and di-rected from certain operator concepts that are present and became fundamental pieces for understanding my work: the affective memo-ries, the stories, the use and appropriation of objects and their materialities. All course pre-sented in inventory of the artist have the reli-quaries as a conducting wire and the objects and other fragments, treated as relics, integrate and coexist in this course.
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Books on the topic "Reliquary"

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Preston, Douglas J. Reliquary. New York: Tom Doherty Associates, 1998.

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Preston, Douglas J. Reliquary. [s.l: s.n.], 1997.

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Guild (Art gallery : Mumbai, India), ed. Reliquary. Mumbai: Guild Art Gallery, 2009.

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Reliquary. Huntsville, Tex: Texas Review Press, 2003.

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Preston, Douglas J. Reliquary. New York: Forge, 1997.

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Preston, Douglas J. Reliquary. S.l: Tor Books, 1998.

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Preston, Douglas J. Reliquary. New York: Forge, 1998.

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Reliquary: Poems. Lexington, KY: Accents Publishing, 2013.

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Hollinshead, Richard. Reliquary: Recent work. [Southampton]: Millais Gallery, 1999.

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Cherry, John. The Holy Thorn reliquary. London: British Museum Press, 2010.

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Book chapters on the topic "Reliquary"

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Brown, Christopher, and Helen Omand. "Reliquary for the departed." In Contemporary Practice in Studio Art Therapy, 215–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003095606-23.

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Chaganti, Seeta. "The N-Town Assumption’s Impossible Reliquary." In The Medieval Poetics of the Reliquary, 73–94. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_4.

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Chaganti, Seeta. "Introduction." In The Medieval Poetics of the Reliquary, 1–18. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_1.

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Chaganti, Seeta. "The Poetics of Enshrinement." In The Medieval Poetics of the Reliquary, 19–45. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_2.

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Chaganti, Seeta. "Silent Inscription, Spoken Ceremony: Saint Erkenwald and the Enshrined Judge." In The Medieval Poetics of the Reliquary, 47–71. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_3.

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Chaganti, Seeta. "Enshrining Form: Pearl as Inscriptional Object and Devotional Event." In The Medieval Poetics of the Reliquary, 95–129. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_5.

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Chaganti, Seeta. "Reliquaries of the Mind: Figuration, Enshrinement, and Performance in the Pardoner’s Tale." In The Medieval Poetics of the Reliquary, 131–53. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_6.

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Chaganti, Seeta. "Conclusion." In The Medieval Poetics of the Reliquary, 155–69. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_7.

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Fischer, Beth. "Facing Medusa: A Thirteenth-Century Reliquary of King David." In Gender, Otherness, and Culture in Medieval and Early Modern Art, 15–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65049-4_2.

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Cohen, Paul T. "Lue across Borders: Pilgrimage and the Muang Sing Reliquary in Northern Laos." In Where China Meets Southeast Asia, 145–61. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-11123-4_8.

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