Bibliografías temáticas / Crucifixion in art

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Literatura académica sobre el tema "Crucifixion in art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Crucifixion in art"

Bigun, Olga. "Християнські архетипи у творчості Тараса Шевченка". Przegląd Wschodnioeuropejski 14, № 1 (26 червня 2023): 191–201. http://dx.doi.org/10.31648/pw.9031.

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The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aesthetic approach to art, and key ideas of archetypal interpretation. It is found out that, in Shevchenko’s poetry, the archetypes of the Resurrection and the Crucifixion are manifested in a number of modifications, where resurrection / crucifixion has a symbolic meaning in the sense of the resurrection / crucifixion of Ukraine, the resurrection / crucifixion of the people, the resurrection / crucifixion of a lyrical hero, etc. In painting, Christian archetypes are directly related to the transmission of the New Testament history.

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Jeffrey, David Lyle. "Meditation and Atonement in the Art of Marc Chagall." Religion and the Arts 16, no. 3 (2012): 211–30. http://dx.doi.org/10.1163/156852912x635205.

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Abstract Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jewish and Christian understandings of meditation and visual commentary on the Scriptures, prophetically calling both traditions to repentance and reconciliation.

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Panteleev, Aleksey D. "Crucifixion in the Ancient Art of the Roman Period." Actual Problems of Theory and History of Art 11 (2021): 124–33. http://dx.doi.org/10.18688/aa2111-01-11.

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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.

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de Chaves, Lila. "An Investigation on a Coptic Embroidered Panel from the 13th Century “Crucifixion with the Twelve Apostles” (Benaki Museum, Athens)." Heritage 4, no. 4 (November 13, 2021): 4335–43. http://dx.doi.org/10.3390/heritage4040239.

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The “Crucifixion with the twelve Apostles”, a unique Coptic embroidered panel, was on display at the Benaki Museum (Athens, Greece). The representation of the “Crucifixion” with Christ in the center and six Apostles on either side, standing next to each other in frontal poses, is quite a rare one. This rare iconographic image of the twelve Apostles could be linked to the Ascension or the Pentecost. This unique representation of the Crucifixion with the twelve Apostles, which also involves the Ascension, is a one-of-a-kind compositional formula representing Christ’s Death as a triumph over Death, emphasizing, along with the other factors, its non-Chalcedonic origin. Moreover, the interpretation of an inscription, written in at least three languages embroidered in black silk thread, is a matter which confuses the issue even more. In the present study, we will attempt a comprehensive investigation, a detailed description, and interpretation of this rare iconography, based on written and iconographic evidence traced in the history of art heritage objects.

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Coatsworth, Elizabeth. "The ‘robed Christ’ in pre-Conquest sculptures of the Crucifixion." Anglo-Saxon England 29 (January 2000): 153–76. http://dx.doi.org/10.1017/s0263675100002441.

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In the nineteenth century, John Romilly Allen confidently claimed that the iconography of the Crucifixion with the robed or ‘fully draped’ Christ was a phenomenon of Celtic art, found in Scotland, Ireland and Wales, distinguishable from the ‘Saxon’ type in which Christ wore a loin-cloth. Other features of the Saxon type were the presence of the sun and moon above the arms of the cross, instead of angels as in Ireland; and the figures of the Virgin and St John at the foot of the cross, without the spear- and sponge-bearers, the latter pair appearing only exceptionally at Alnmouth, Northumberland; Aycliffe, County Durham; and Bradbourne, Derbyshire. Clearly two different versions were identified in this analysis, but no attempt was made to clarify the chronological relationship between the examples cited, and only the geographical distribution of a small number of examples was considered. Romilly Allen's confidence in distinguishing ‘Celt’ from ‘Saxon’ on the basis of art styles, even for the pre-Viking period, is not always shared today, as the continuing discussion of the origins of several important manuscripts shows. The terms ‘Insular’ and ‘Hiberno-Saxon’ used to describe much of the art from the sixth century to the eighth underline die perceived difficulties.

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Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.

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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s distinctive use of Cubism to create a quiet meditation on the crucified Christ. In some respects affirming the long tradition of Crucifix and Crucifixion paintings, Crucifix also counters those traditions to provide an alternative perspective on the Crucifix as a subject. Through his Crucifix painting, Trunk successfully brings together two traditions that historically have been viewed as diametrically opposed—Catholicism and Cubist abstraction—to produce a devotional image of the Crucifix as a form of veneration.

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Ledovskih, Natalya P., and Olga G. Belomoeva. "Existential analysis philosophy of art creation." Aspirantskiy Vestnik Povolzhiya 19, no. 7-8 (April 7, 2020): 50–53. http://dx.doi.org/10.17816/2072-2354.2019.19.7-8.50-53.

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The article is devoted to the principles of existential analysis and the possibility of its application, when we study the art creation. We present the methods of existential analysis: the selection of semantic matrices, the search for a rational grain, including in a situation of semantic uncertainty, which makes it possible to reveal the embedded meanings in any sign-symbolic systems, to analyze the reality created by a person/society. Existential analysis is particularly productive for the study of artistic creation. The authors demonstrate the possibilities of using existential analysis in the visual arts, tracing the evolution of Christian images. Three images of the Crucifixion are analyzed Dionysius, Matthias Grunewald and Alain Wilbox paintings from the collection of Robert Harris Rothschild.

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Misler, Nicoletta, and John E. Bowlt. "Catherine’s Icon: Pavel Filonov and the Orthodox World." Religions 12, no. 7 (July 6, 2021): 502. http://dx.doi.org/10.3390/rel12070502.

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The authors discuss the Orthodox icon which Pavel Filonov (1883–1941) painted in 1908 or 1909 for his sister, Ekaterina, placing it within the broader context of his oeuvre, his family and his understanding of ‘religiosity’. Making reference to Filonov’s system of Analytical Art and to what he called ‘madness’, the authors focus on the particular technical devices which he used in the icon and on the podlinnik (or primer) from which he copied the main elements. Reference is also made to other religious motifs in Filonov’s art such as the Magi, Flight into Egypt and Crucifixion.

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Tarakanova, Ekaterina I. "WOODEN “CRUCIFIXION” BY FILIPPO BRUNELLESCHI AND MASACCIO’S FRESCO “TRINITY”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 124–33. http://dx.doi.org/10.28995/2686-7249-2022-1-124-133.

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The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- trocento era. The hypothesis is put forward that the image of Christ in the Masaccio’s fresco is not just a technical repetition, but a kind of “homage” to an older friend and consultant.

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Tesis sobre el tema "Crucifixion in art"

Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

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Horvath, Jennifer. "Resistance, Resurrection, Liberation: Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427980680.

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Anderson, Keith Edward. "An investigation of the theological questions raised by twentieth-century works of art which make use of the iconography of the crucifixion." Thesis, Oxford Brookes University, 2014. https://radar.brookes.ac.uk/radar/items/8e78f44e-8d37-4f6a-a078-75318d1b3a4a/1.

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This research developed from an observation that the iconography of the crucifixion was being used by artists in the twentieth century for purposes beyond its usage in earlier centuries. As an active member of a Christian Community this appeared to have implications for a Christian understanding of the theological significance of the crucifixion of Jesus and also its significance in the wider culture of twentieth century Britain. The foundation of this thesis is a Scholarly Edition of sixty works of art, produced from 1913 to 2000, by artists based in Great Britain. They are united by a common use of the iconography of the crucifixion. There is no other collection comparable to the Scholarly Edition. As an original contribution to learning the collection is innovative in bringing together the works of art as a resource for theological reflection. The commentary describes the methodology used in collecting and analysing the works including an introduction to three areas relating theology and art. The analyses of individual works indicate that in the twentieth century the theology implicit in the works moved away from a teleological emphasis of Jesus as Saviour of the World, found in pre-seventeenth century works, to a diverse and diffuse approach to theology. Within this diversity, the works of art collected in the Scholarly Edition indicate that Christians and non-Christians during this period used it for a wider range of purposes than has been thus far reported. In the final chapter of the Commentary it is proposed that in the twentieth century the symbolic meaning of the iconography changed from centring on a Christian teleological understanding as Christ as Saviour to a non-religious personification of humanity as alienated, innocent and suffering, whose prototype is the crucified Jesus Christ. Finally, this change was related to radical Anglican theological proposals made during the twentieth century.

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Rehlinger, Geneviève. "Jésus le Christ dans l'oeuvre de Marc Chagall : le motif du crucifié." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Schmitt_Rehlinger.Genevieve.LMZ0607_1_2.pdf.

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Pour déterminer la place de Jésus le Christ dans l'oeuvre de Chagall, nous nous appuyons sur un corpus de 365 œuvres comportant le Motif du Crucifié ainsi que différents documents littéraires (lettres, biographie, poèmes). Notre approche plurielle touche aux domaines de l'histoire de l'art, de la théologie et de l'histoire du judaïsme ( en particulier de la Shoah) et du christianisme, ainsi que de l'exégèse biblique. Une première partie recense les lectures critiques et interprétatives des monographes concernant le motif chez le peintre ; lectures influencées par l'appartenance culturelle et religieuse de leur auteur. Une seconde partie explore les influences reçues par l'artiste : culturelles, artistiques, ethniques, religieuses et historiques. Elle se penche notamment sur les divergences entre les communautés chrétiennes et juives concernant la personne de Jésus. Une troisième partie présente la place tout à fait remarquable que le motif du crucifié occupe chez un artiste issu du judaïsme et pose la question de l'utilisation, par un juif, d'un motif chrétien. La quatrième partie présente la place du motif dans l'oeuvre de l'artiste, une place méconnue, sous-évaluée, contestée. Une étude des thèmes et motifs associés, sous les catégories du grotesque, du déport et du report, permet de suivre l'itinéraire d'un peintre qui découvre, s'approprie et dépasse un motif de l'art chrétien. Une lecture rétrospective du déploiement du motif découvre alors une lecture polysémique et pluri religieuse du motif qui fait de Chagall un visionnaire<br>To determine the place of Jesus the Christ in the works of Chagall, we rely on a corpus of 365 artistic works with the motif of Christ crucified and different literary documents (such as letters, biography and poems). Among other things we refer to the different fields of the history of Art, Judaism (Shoah), and Christianity as well as the biblical exegesis. The first part specifies the critical and interpretative readings being influenced by the cultural and religious belonging of their author. The second part explores the different influences received by the artist from the cultural, artistic, ethnic, religious and historical point of view. It particularly focuses on the divergences between the Christian and Jewish communities concerning Jesus Christ. The third part puts forward the remarkable place of the motif of Christ crucified takes in an artist born of Judaism. It asks the question of the use of a Christian motif by a Jew. The fourth part introduces the place of the motif in the artist works, a place which is unknown, under-evaluated, and contested. A study of the topics and associated motives under the categories of “grotesque”, “report” and “deport” introduces the viewer to the path of a painter who discovers, appropriates and transcends a motif in Christian art. Consequently, the careful retrospective reading of the motif emphasizes the polysemic and pluri-religious side of the design which definitively makes a visionary of Chagall

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Walker, Ashely Wilemon. "The Thirteenth-Century Fresco Decoration of Santa Maria Ad Cryptas in Fossa, Italy." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/52.

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This paper discusses the fresco decoration of Santa Maria ad Cryptas. The frescoes are described and analyzed, and then compared to similar programs in order to determine which features are based on earlier sources, and which are unusual or unique to this particular church. The traditional features are found to reflect a long-established pattern of church decoration reflected in such monuments as Old Saint Peter’s, Sant’Angelo in Formis, the Cathedral of Monreale, and the Cappella Palatina. The unusual features (including the placement of the Passion cycle in the presbytery, and the location of the Crucifixion over the altar) are explained as modifications that emphasize themes of local importance, or of special significance to the patron. The Fossa frescoes utilize programmatic elements, such as the Old and New Testament narrative cycles, to explain sacred history as it related to a medieval man of the patron’s class and profession.

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Smith, Tamytha Cameron. "Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.

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This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer.

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Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

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Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.

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Balicka-Witakowska, Ewa. "La crucifixion sans crucifié dans l'art éthiopien : recherches sur la survie de l'iconographie chrétienne de l'Antiquité tardive /." Warszawa ; Wiesbaden : ZAŚ PAN, 1997. http://catalogue.bnf.fr/ark:/12148/cb39219741v.

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Ewin, Kristan Foust. "The Argei: Sex, War, and Crucifixion in Rome and the Ancient Near East." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115076/.

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The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. in addition to an agricultural and purification rite, these rituals may have served as sympathetic magic for pre- and inter-war periods. As of yet, no author has proposed the Argei as a ceremony related to war. By looking at the Argei holistically I open the door for a new direction of inquiry on the Argei ceremony, fertility cults in the Near East and in Rome, and on the execution of war criminals.The Argei and new year’s sacred marriage both occurred during the initiation of campaign and spring planting and harvest season. Both in the ancient Near East and in Rome, animal victims were sacrificed and displayed through impaling, crucifixion, and hanging for fertility and in war. for both Rome and the Near East war casualties were displayed on sacred trees. Through the Near East cultures a strong correlation existed between impaling, hanging, and crucifixion in war and Sacred Tree fertility worship. By examining Roman tree worship, military rituals, and agricultural ceremonies a similar correlation becomes apparent. on the same day of the Argei, Mars was married to the anthropomorphized new year and within the month became a scapegoat expelled from the city. Additionally, on the first day of the Argei boys became soldiers.

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Más fuentes

Libros sobre el tema "Crucifixion in art"

Julia, Hasting, ed. Crucifixion. London: Phaidon, 2000.

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contributor, Fogliadini Emanuela, ed. Crucifixion: La crucifixion dans l'art, un sujet planétaire. Montrouge: Bayard Édition, 2019.

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Réunion des musées nationaux (France), Musée national de la Renaissance (France), and Union latine, eds. Le triptyque aztèque de la crucifixion. Paris: Réunion des musées nationaux, 2004.

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Brindisi, Remo. La passione. Roma: Edicigno, 1990.

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Lara, Angel Aroca. El Crucificado en la imaginería andaluza del siglo XVII. Córdoba: Publicaciones del Monte de Piedad y Caja de Ahorros de Córdoba, 1987.

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Castro, Sandra. Art of the cross: A Philippine tradition. Makati City, Philippines: Ayala Museum, 2002.

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Alessandra, Tiroli, ed. Passio: Un volto dolente da contemplare. Ponte S. Giovanni (Perugia): Quattroemme, 2004.

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Rossella, Vodret Adamo, Lo Bianco Anna, and Galleria nazionale d'arte antica (Italy), eds. La croce dipinta Jacorossi. Roma: Gebart, 2010.

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Marco, Droghini, and Droghini Marco, eds. Tiziano, Rubens: Ecce Homo, Sbarco di Maria de' Medici a Marsiglia. Cinisello Balsamo, Milano: Silvana editoriale, 2019.

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Giovanni, Testori, and Museo civico Amedeo Lia (La Spezia, Italy), eds. (In)croci al Museo Lia: La passione di Cristo secondo Giovanni Testori. Novate Milanese]: Casa Testori associazione culturale, 2018.

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Capítulos de libros sobre el tema "Crucifixion in art"

Jensen, Robin M. "Jesus's Crucifixion, Resurrection, and Ascension." In Understanding Early Christian Art, 200–238. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003216094-6.

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Binski, Paul. "The crucifixion and the censorship of art around 1300." In The Medieval World, 418–36. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: The Routledge worlds: Routledge, 2018. http://dx.doi.org/10.4324/9781315102511-25.

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Neil, Josephine. "Chapter 12The Reception of Divine Grace in Hendrick ter Brugghen’s Crucifixion with the Virgin and Saint John." In Sacred Images and Normativity: Contested Forms in Early Modern Art, 224–41. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.122589.

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Wenkel, David H. "The Act of Beating the Fool." In Jesus' Crucifixion Beatings and the Book of Proverbs, 89–103. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48270-5_7.

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"Ekphrasis of the Crucifixion." In Michael Psellos on Literature and Art, translated by Charles Barber and Elizabeth A. Fisher, 290–99. University of Notre Dame Press, 2017. http://dx.doi.org/10.2307/j.ctvpj7gd5.27.

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Viladesau, Richard. "The Cross in Modern Visual Art." In The Wisdom and Power of the Cross, 180–256. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516522.003.0004.

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This chapter looks at treatments of the cross in “fixed” images: painting and drawing, sculpture, and photography. The first part examines the cross in its traditional religious setting. Among the major artists covered are Maurice Denis, Georges Rouault, and Salvador Dalí. The second part surveys the use of the cross in secular settings. The crucifixion of Jesus here becomes a metaphor for the unjust sufferings of others: humanity in general; the artist; the Jewish people; persecuted groups like women or blacks; victims of political and social injustice; those oppressed by the church. The crucifixion also becomes an established artistic genre, without a particular message.

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"Tintoretto’s Crucifixion and Cassinese Spirituality." In Nuns and Reform Art in Early Modern Venice, 160–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315090429-9.

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Burnham, Rika. "12 Radiant Dialogue: Discovering Piero’s Crucifixion in The Frick Collection." In Time and Presence in Art, 235–42. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110722079-013.

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"Madonna’s crucifixion and the woman’s body in feminist theology." In Doing Gender in Media, Art and Culture, 129–45. Routledge, 2009. http://dx.doi.org/10.4324/9780203876800-17.

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"Iconoclasm: Crucifixion as Self-Annihilation in Late Works (1804 – 27)." In The Visionary Art of William Blake. I.B. Tauris, 2018. http://dx.doi.org/10.5040/9781350989375.ch-005.

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Actas de conferencias sobre el tema "Crucifixion in art"

ХУХАРЕВ, В. В. "Stone Cross from Podborovie Village in Tver Region: a Preprint." In Тверь, тверская земля и сопредельные территории в эпоху средневековья. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-9906508-3-1.203-207.

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В фондах ТГОМ хранится каменный крест, вывезенный в 1980 г. из окрестностей д. Подборовье Лесного района Калининской области. По форме представляет собой четырехконечный крест с расширяющимися концами, вписанный в круг. На лицевой стороне креста в центре вырезано Распятие Христово, по бокам от него – парящие ангелы. У подножия креста – два воина. В боковых рукавах креста в округлых медальонах изображены предстоящие. В верхней оконечности – шестикрылый серафим. Над серафимом и с боков предстоящих надписи. Крест можно относить к памятникам, тяготеющим к новгородскому кругу древностей. A stone cross found in 1980 in neighborhoods of Podborovie village in Lesnoy district of Kalinin region is kept in Tver State United Museum funds. It is the four-pointed cross with widening points inscribed in a circle. In the middle of its front side there is carved image of crucifixion with floating angels on both sides. Two warrior figures stand at the foot of the cross. There are images of bystanders in roundish medallions on side points of the cross. The upper point is decorated with the image of six-winged seraph. The cross has inscriptions above the seraph and alongside of bystanders. This cross can be considered as artefact related to Novgorodian antiquities circle.

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