Dissertations / Theses on the topic 'Reliquary'

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

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.

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.

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

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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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.

A ética do brincar está sujeita à criação e à desconstrução, engendra-se por ser uma máquina política e uma prática de ensinar experimental (segundo as questões da vida contemporânea). Opera com a pedagogia na educação e com a pedagogia na saúde, produzindo outra pedagogia, com articulação contemporânea vívida. Flerta (e tira partido) da filosofia, das artes, da pedagogia, e cria métodos pra educação e pra saúde. Produz entrecomposição com ações de ensino, pesquisa e extensão na universidade, em que a Ética coloca movimentação, pondo coletivos a brincar. Trata-se do contemporâneo como desafio na educação superior, num cenário nacional e internacional, para promover outra perspectiva de docência e formação de profissionais de saúde na universidade. Compromete-se com uma política de educação para todos e para cada um, desde a aprendizagem na deficiência, no autismo, na saúde mental, como na não deficiência. Afirma a pedagogia como ciência da multiplicidade, da entrecomposição. O texto funciona por sua escritura, com entoados, argumentos e procedimentos, ao modo filosófico e artístico, e funciona por uma entrecomposição engenhosa, articulada, simétrica e complementar das partes da Tese: pathos; efeitos poiéticos; criação; riso; espaço de habitação; escrita; curandeira; arteira; geringonça; relicário; acúmulo; lúdica; descabimento; experimentação; deambulação; desconstrução; composição; som; presença; jardim; cuidado; condução; intuição; máquina política; máquina experimental; ética experimental. Perspectiva axiológica. O método foi o do relicário, ensaio com os guardados de escola, de unidades de saúde, de contato com o fazer em educação e em saúde mental.
The ethics of playing is subject to the creation and deconstruction, is engendered by to be-being a political machine and experimental ethical (issues of contemporary life). It operates with pedagogy in education and pedagogy in health, producing another pedagogy, with vivid contemporary articulation. Quibble with (and takes advantage of) philosophy , with art, with pedagogies and creates methods for education and health. Produces amongst-composition in teaching activities, research and extension at university where the Ethics starts movimentation, putting collectives to play. It is about the contemporary higher education, a national and international scene, providing another perspective of teaching and training health professionals at the University. It is committed to an education policy for all and for each one, from the learning disability, in autism, mental health, and in no impairment. Claims pedagogy as science of multiplicity into amongst-composition. The text works by its writing, with intoned, arguments and procedures, philosophical and artistic way, and works for an ingenious amongst-composition, articulated, symmetrical and complementary to parts of the thesis: pathos; "poiétical" effects; creation; laughter; living space; writing; healer; naughty; contraption; shrine; accumulation; ludic; misplaced; experimentation; ambulation; deconstruction; composition; sound; presence; garden; caution; conduction; intuition; political machine; experimental machine; experimental ethics. Axiological perspective. The method was the relicary, assay with things found and saved from schools, health units, contact with the making in education and mental health.

Depuis une vingtaine d’années, les historiens de l’art s’intéressent de près à la microarchitecture, c’est-à-dire la miniaturisation d’édifices dans les oeuvres d’art, en particulier dans l’orfèvrerie. Les études sur le sujet se concentrent toutefois essentiellement sur la période médiévale et s’attachent à définir dans quelle mesure ces oeuvres imitent des édifices existants. Elles sont rarement étendues à d’autres périodes. Or, la Renaissance florentine, marquée par une mutation profonde de l’art d’édifier et de concevoir l’architecture, constitue une fenêtre d’observation privilégiée, que nous mettons à profit pour explorer les liens que les édifices miniaturisés en orfèvrerie entretiennent avec leurs homologues monumentaux architecturés. Pour ce faire, nous identifions trois fonctions de la microarchitecture : celle d’objet ou de partie d’un objet (Objectum), celle d’assemblage d’éléments architecturaux (Ædiculum), celle d’image offerte au regard du spectateur (Imago). Dans Objectum, la microarchitecture est envisagée à travers la pièce d’orfèvrerie qu’elle contribue à orner, son contexte de fabrication et sa matérialité. Cet examen est aussi l’occasion de présenter les matériaux et les techniques utilisées en orfèvrerie. Ædiculum est consacré à l’étude des éléments architecturaux qui composent les petits édifices. Ces éléments mettent au jour des correspondances entre l’orfèvrerie et d’autres arts, tels que la sculpture ou la peinture. Dans Imago, nous montrons que les petites dimensions de la microarchitecture, qui la rendent propre à être embrassée du regard, en font une image qui engage un dialogue privilégié avec le spectateur grâce à un ensemble de dispositifs, qui vont de ses qualités esthétiques à sa capacité évocatrice en passant par les significations religieuses et politiques dont elle est chargée. Au total, cette étude montre que la microarchitecture ne se définit pas nécessairement dans son rapport avec la grande architecture mais consiste plutôt en un phénomène artistique indépendant et universel
For the last twenty years art historians have developed an interest in microarchitecture: the miniaturization of architecture in works of art, especially in goldsmithery. Studies dedicated to the topic mostly focus on medieval period, trying to define which large-scale buildings these works might imitate. However, these studies are rarely extended to other periods of time. Renaissance Florence, characterized by a deep transformation of the art of architecture, is a significant period we chose in order to observe the connections between miniaturized and monumental buildings. This requires the identification of three aspects of microarchitecture: being an object or part of an object (Objectum), combining different architectural motives (Ædiculum) and presenting itself as an image to be seen by a viewer (Imago). With Objectum, we examine the microarchitecture in relation to the work it contributes to ornate as well as within its context of production. This inspection is also a relevant opportunity to present the materials and the techniques used by the goldsmiths. With Ædicula, we study the architectural motives that compose the miniaturized buildings. The motives show the similarities between goldsmithery and other arts like sculpture and painting. With Imago, we consider the dialog that microarchitecture establishes with the viewer thanks to several dispositives such as the æsthetic qualities of the pieces, their ability to evocated something familiar (a building) and, sometimes, their religious and political meanings. In total, this study argues that micorarchitecture does not necessarily define itself within its relationship to large-scale architecture but should rather be understood as an independent, universal artistic phenomenon

archives@tulane.edu
The purpose of this project is to consider how medieval devotees experienced a specific set of reliquaries and their holy contents as well the obstacles they faced in doing. By placing these objects in dialogue with contemporary theological discourse on the nature of vision as it relates to access and knowledge of God, I will attempt to reconstruct and identify the meaningful connections one could have formed in the presence of relics and reliquaries. I aim to challenge reductive ways of framing medieval thought and experience by attending to and attempting to understand the experience of the medieval viewer.
1
Madeline Brown

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
101
The topic of the thesis is about The Reliquary of St. Ursula (1489), by a German painter from early Flemish school of painting (Flemish Primitives), Hans Memling (c.1430-1494), this reliquary combines oil painting on wood, sculpture and architectural model, besides analyzing the panel painting about the scenes of St. Ursula and her 11,000 companions, I also endeavor to do a comprehensive study for its overall meanings, features and function. The first two chapters begin with an analysis of the social and economic status of women in Flanders of the fifteenth century, especially why Beguines, this religious community of lay women can survive only in this area. The image of women demonstrated in Memling’s paintings, particularly the presentation of the female saints reflects the phenomenon that the social status of women in Flanders is a little higher than that in other areas. Therefore, female martyrs images, which mainly serve as models for independent women, appeared in large numbers in the Middle Ages. Female martyrs were mortals, but they remained loyal to their own beliefs against secular conventions, so Memling’s patroness could easily identify themselves with these images. The final chapter presents an analysis of The Reliquary of St. Ursula, compares other known St. Ursula works as well as general reliquaries, to find out the similarities and differences between them. The Reliquary of St. Ursula offers the viewer a multi-level sensory experience, such as aesthetic pleasure from enjoying plane painting, touchable feeling from three-dimensional sculpture, praying for the sacred icons of worship, spiritual pilgrimage of meditation. In other words, it allows viewers concentrate on contacting divine in time and space, as well as psychological and physical, to reach the perfect balance from heaven and earth. Memling can still continued creation all his life without entering the royal family to serve only for few privileged, just like Beguines maintain a pious life of self-sufficiency without being attached to demanding precepts of the convent. Therefore, I believe that The Reliquary of St. Ursula proved Memling is not the so-called major "minor" master but a "one of a kind" master.

This undergraduate thesis is an examination of the works of Odorannus (c. 985-c. 1046), a monk of the abbey of Saint Pierre-le-Vif in Sens, France. A prominent monk in his community, Odorannus was involved in constructing and celebrating his monastery's prosperity and identity. At times, however, he was at variance with his brethren, even experiencing a brief period in exile. This essay explores aspects of Odorannus' compilation, a collection which the monk himself gathered together in his old age, in terms of the dynamic relationship between self and community in a Benedictine monastery of the central Middle Ages.

Nachdem Heinrich I. im Jahre 936 verstorben war, wurde an seinem Grab in Quedlinburg ein weltliches Frauenstift gegründet, dessen erste Äbtissinnen Töchter und Schwestern der ottonischen Kaiser waren. Unter diesen wurde es Tradition, das Osterfest wenn möglich am Grab des Vorfahren zu begehen, und auch nachfolgen-de Adelshäuser folgten diesem Brauch. Die mitge-brachten Geschenke bereicherten über die Jahrhunderte den Stiftsschatz und zeugen noch heute von der Bedeutung des Stiftes zu seiner Blütezeit.

At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enkolpion, i.e. the hanging cross (gr. Έγϰόλπιου, on the chest). Both its sides are decorated with figurative scenes. The crucifixion of the Christ is depicted on one side. The Great Deēsis with St. Basil the Great and St. John Chrysostom is shown on the other side. There is a hollow in the body of the cross, in which a relic was deposited - most likely a particle of the wood of the True Cross. Although the Queen Dagmar's Cross is considered a national treasure in Denmark, only a little attention has been paid to it so far. It is almost unknown to the Czech researchers (it is briefly mentioned by J. E. Wocel, A. B. Černý, J. Květ, K. Chytil and most recently P. Balcárek). Regrettably, the most of researchers only...