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1
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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Bigaj-Zwonek, Beata. "Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem." Perspektywy Kultury 28, no. 1 (March 1, 2020): 149–66. http://dx.doi.org/10.35765/pk.2020.2801.12.
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Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transformation of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.
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González, Cristina Cruz. "Crucifixion piety in New Mexico: On the origins and art of St. Librada." Res: Anthropology and aesthetics 65-66 (March 2015): 89–104. http://dx.doi.org/10.1086/691028.
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Schulze-Witzenrath, Elisabeth. "„compassio“, Leidenschaft, Ekstase." Poetica 52, no. 3-4 (December 23, 2021): 180–227. http://dx.doi.org/10.30965/25890530-05201009.
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Abstract Expressions and gestures of mourning for the loved one have been a theme of religious art from early on. In the Middle Ages, after the discovery of the suffering Christ (“Christus patiens”), they are shown in numerous depictions of the crucifixion, especially in those of the taking down of the cross. Since the 13th century, the attitude of “compassion”, which commemorates Christ’s act of redemption and, according to theological interpretation, thereby brings about one’s own salvation, has promoted empathy with the other. After the theme had been increasingly treated aesthetically in painting, non-religious models of mourning also appeared in poetry from the 16th century onwards, whose actions were oriented towards the respective epoch-specific image of man (passion, ecstasy). The article analyses relevant poetic and musical works.
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Bogomolova, Yuliana Yu. "TRANSFORMATION OF THE IMAGE OF MARY MAGDALENE IN "THE FEAST AT SIMON THE PHARISEE" IN ITALIAN PAINTING." Arts education and science 2, no. 35 (2023): 117–27. http://dx.doi.org/10.36871/hon.202302117.
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Mary Magdalene occupies a special place among the Gospel characters. Her name is mentioned several times in all the synoptic Gospels. Being a participant in the central events of the Crucifixion and Resurrection of Christ, she appears already in the earliest Christian images. The rich pictorial tradition associated with her expanded as her fascinating and controversial biography developed, blending the features of various heroines with the name Mary or nameless sinners. This article considers the process of composition, as well as semantic and artistic transformation of the plot, which became widespread in European fine art — "The Feast in the House of Simon the Pharisee" on the example of Italian art from the Middle Ages to the High Renaissance. This selectivity is justified by the fact that the key processes in the formation of iconographic schemes took place in early Christian and medieval art and underwent qualitative changes in Proto-Renaissance and Renaissance art in Italian art schools. In turn, the Italian High Renaissance art in this case is limited to the Venetian school, since it was within this national school that the most characteristic processes were observed. The study uses historicalformal, iconographic and iconological methods.
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Szot, Zofia. "Kolory Ofiary – akwarelowe malarstwo pasyjne Danyły Mowczana." Sacrum et Decorum 14 (2021): 108–28. http://dx.doi.org/10.15584/setde.2021.14.6.
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Ukrainian-born Danylo Movchan is one of the most interesting contemporary artists working in the field of sacred art. His work derives from the art of the Eastern Church and ranges from icon painting through portraits to allegorical and mythological representations. Among his works, characterised by minimalism and the use of light backgrounds, works in watercolour stand out. Referring to the artist’s Passion representations, I present an interpretation of the works, analysing the formal techniques employed by Movchan, with particular reference to the way in which he uses water colours. I look successively at the depictions of the crucifixion, descent from the cross, lamentation and entombment. I address issues such as biblical history, dogma, the emotionality of the depictions and the relationship between Jesus and the viewer contemplating the image. In the text, I try to prove that in Movchan’s art, both iconography and the form of the artwork play an almost equal role in conveying events and scenes of a religious nature and reflections connected with them.
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Sugiyama, Miyako. "Jan van Eyck’s New York Diptych: A New Reading on the Skeleton of the Great Chasm." Arts 11, no. 1 (December 25, 2021): 4. http://dx.doi.org/10.3390/arts11010004.
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The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its attribution, composition, functional intent, and even its dating. In light of prior scholarship addressing these remarkable panels, this paper focuses on the skeleton represented in the Last Judgment to reveal its iconographical meanings. Specifically, I highlight the inscriptions written on the skeleton’s wings, suggesting that the texts were cited from an All Saints’ Day sermon delivered by the Burgundian abbot Bernard of Clairvaux (1090–1153) who discussed a temporal location for blessed or sinful souls.
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Cunningham, Dawn. "Elucidating Opposites." Religion and the Arts 21, no. 3 (2017): 309–34. http://dx.doi.org/10.1163/15685292-02103001.
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A religious diptych provided medieval people with opportunities to access the transcendental and to engage in meditation on spiritual routes to salvation. The binary format of the diptych lent itself to pairings of images that could include oppositions or iconographic contradictions. By manipulating these pairings, artists and patrons could enhance the complexity of the theological messages as well as of the relationship between art and user. Like many Gothic diptychs from Italy, an early-fourteenth-century example by Giotto is comprised of a Crucifixion and a vision of Mary’s heavenly court. The celestial group around the Virgin and child includes seven prominent personifications of the virtues. By properly identifying these moral qualities through comparisons with Giotto’s other works and by examining the oppositions they possibly addressed, we can elucidate some of the spiritual concerns of the original patron(s) who paid for and engaged with this diptych.
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Wallace, Isabelle Loring. "Rivalry, Retribution, and Religion: The Art of Paul Pfeiffer." Religion and the Arts 16, no. 3 (2012): 231–62. http://dx.doi.org/10.1163/156852912x635214.
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Abstract Drawing on the work of literary critic René Girard, this paper considers the work of contemporary digital artist Paul Pfeiffer, arguing that his work establishes compelling parallels between various biblical narratives and aspects of contemporary-culture as defined (and dominated) by technology’s omniscient and all-seeing eyes. Fleshing out the comparison Pfeiffer seems to make between the vengeful eye of an all-seeing, Old Testament God and our own culture’s relentless surveillance by mass and new media, I suggest that Pfeiffer also aligns various biblical sacrifices—namely, the Old Testament sacrifice of the world by flood, and subsequently, in the New Testament, the sacrifice of Jesus by God—with the contemporary sacrifice of the world (or more accurately, reality) by new technologies that have radically restructured our relation to both time and space. Pfeiffer thereby reinterprets new media, treating it as if an enactment of dynamics at the very heart of the Judeo-Christian tradition, perhaps performed for the purpose of decatheting the primal trauma described therein. Moreover, although not expressly referenced by Pfeiffer, the Fall, as wrought by man’s rivalrous consumption of the apple in the Garden of Eden, is everywhere present in Pfeiffer’s oeuvre, whether in the form of athletic hubris or (see the sacrifice of Larry Johnson in Pfeiffer’s Fragment of a Crucifixion), or in the quintessential form of man’s desire to acquire information known only by an (announcer’s) authoritative and disembodied male voice (see Pfeiffer’s Desiderata, a work made with raw footage from the well-known game show The Price is Right). That these rivalries necessitate some form of compensatory sacrifice is a fact that brings together the various components of Pfeiffer’s work, comprised as it is of various rivalries alongside originary sacrifices and the rituals designed to recall their significant and, for Girard, palliative effects.
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Chynoweth. "Women Crucified for the Sins of the Fathers: Censorship and the Crucifixion Motif in the Art of Rachael Romero." Journal of Feminist Studies in Religion 30, no. 1 (2014): 167. http://dx.doi.org/10.2979/jfemistudreli.30.1.167.
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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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Murphy, Jill. "Dark fragments." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 39–56. http://dx.doi.org/10.33178/alpha.7.03.
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The short film La ricotta (Pier Paolo Pasolini, 1963) tells the story of Stracci, an extra working on a film of the life of Christ, which is presented in part via tableaux vivants of Mannerist paintings. Pasolini’s film is replete with formal, stylistic and narrative binaries. In this article, I examine a particularly emphatic binary in the film in the form of the abstract, ethereal corporeality of the Mannerist paintings versus the raw and bawdy corporeality of Stracci. I show that through the reenactment of the paintings and their literal embodiment, Pasolini creates a rapprochement and, ultimately, a reversal between the divine forms created by the Mannerists and Stracci’s unremitting immanence, which, I argue, is allied to the carnivalesque and the cinematic body of Charlie Chaplin’s Little Tramp. I examine how Pasolini gradually deposes the Mannerists, and thus the art-historical excesses and erotic compulsion he feels towards the crucifixion, substituting in their place the corporeal form of Stracci in all its baseness and profanity.
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Pshenichnyi, Petr V. "The Representation of Female Saints in the Russian Icons with Our Lady of the Sign Image." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 249–62. http://dx.doi.org/10.37816/2073-9567-2024-71-249-262.
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Despite the fact that female saints were not the subject of particular scientific interest, one can found the vast array of the icons of the Our Lady of the Sign flanked by the female saints' representation, especially in the Novgorodian and Pskovian art culture. Due to their names semantic (St. Paraskeva — Crucifixion and St. Anastasia — Resurrection), female saints were not only patronesses of Christian faith as well as patronesses of certain activities or the most popular saints in medieval Novgorod, Pskov and the Northern provinces of Novgorod, but they also represented complicated allusions to Gospel events, Christ and Theotokos. Previously, the researchers believed, that the female saints were just patronesses of particular activity, however they were also symbols of Gospel events. In accordance with the iconographic analysis, the images of the female saints in juxtaposition with the other saints and especially with Our Lady of the Sign image emphasized certain aspects of veneration of Theotokos and Christ.
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Stoian, S. P. "UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.
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The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husband- man", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.
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Esaulov, Ivan. "KAMENNOOSTROVSKY CYCLE OF ALEXANDER PUSHKIN AS EASTER TEXT: MIMESIS, PARAPHRASIS, CATHARSIS. ARTICLE 1." Проблемы исторической поэтики 19, no. 1 (February 2021): 88–123. http://dx.doi.org/10.15393/j9.art.2021.9002.
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The article examines the artistic logic of the development of the Kamennoostrovsky Cycle by Alexander Pushkin, arguing for the presence of an Easter narrative in it. The fact that the author did not complete his last cycle, and the difficulty in determining the composition of the cycle leads to a variety of interpretations. Nonetheless, the work proves the need to limit arbitrary interpretations to the indication of the numbering of poems within the cycle, which was provided by the author himself. It is methodologically correct for a researcher to proceed from the following sequence of texts recognized by all Pushkin scholars: II. “Desert fathers and women are blameless” — III. “(Imitation of Italian)” — IV. “Worldly Power”. Since the prayer of Ephraim the Syrian is paraphrased in text II, referring the reader to Great Lent and Holy Week, in text III Pushkin refers to the betrayal of Judas, in text IV — to the crucifixion of Christ, the surviving author's “backbone” of the cycle is strictly correlated with the middle of Holy Week. The artistic logic of the cycle is substantiated, leading to the correct reading of the superscript over the poem “(From Pindemonti),” namely, No. I. The missing (not numbered by Pushkin) links of the author's poetic construction are reconstructed: “In vain I run to the Zion heights”, “When outside the city, thoughtful, I wander” and “I erected a monument to myself not made by hands”. Using the categories of mimesis, paraphrasis and catharsis, presented here as a single system of concepts in their interconnection, the poetics of both Pushkin's individual poems and the unity of the cycle are described. The first article offers a new understanding of the first five poems of the Kamennoostrovsky Cycle. The second part of the work is devoted to Pushkin's “Monument.”
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Zagvazdin, Evgeniy Petrovich. "New finds of crosses from the churchyard of the Church of the Savior in Tobolsk." Genesis: исторические исследования, no. 12 (December 2023): 209–18. http://dx.doi.org/10.25136/2409-868x.2023.12.69331.
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The subject of the study in the presented article is two crosses from the graves of the Spassky cemetery of Tobolsk. They were discovered during the rescue archaeological excavations in 2022. The range of analogies of the considered finds, as well as their territorial distribution, is considered. A number of issues related to their dating based on typologically identical finds, as well as the chronology of the existence of the churchyard at this church, are touched upon. One of the illustrative specimens in the collection was a rare type of white bronze alloy cross with a crucifixion of Christ on the obverse and an image of an angel on the reverse, originating from burial No. 4. On this cross, the attributes of the Passion Cycle are considered. The analysis showed that such a find, although it has analogies, is still not completely identical to them. It is concluded that the studied type of cross has iconographic origins in the works of European masters. Baroque secular art also had a great influence on the further development of the forms and content of such crosses. The author findings are based on typologies developed by E.P. Vinokurova and V.I. Molodin. The finds were compared with a circle of typologically similar crosses from the territory of Russia and Ukraine, and their chronology was clarified. Identification and comparative analysis of the attributes of the Passion Cycle have been carried out. On the basis of a set of features, their common and distinctive features are revealed. Over the past decades of archaeological research in Tobolsk, a number of archaeologists have collected a representative database of objects of personal piety. For a number of reasons, these findings are not always promptly and fully published, which creates gaps in the source database. The scientific novelty of the presented article is the contribution to the stavrographic collection from the excavations of the churchyard of the Church of the Savior in 2022. Of particular interest is the well-preserved cross No. 4 with a crucifixion, which had not previously been found during excavations in Tobolsk and its surroundings. It is concluded that the studied crosses have iconographic origins in the works of European masters. The further development of the forms and content of such crosses was also greatly influenced by Baroque secular art.
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Sukina, Liudmila B. "THE MOTIF OF THE “SEVEN SACRAMENTS” IN RUSSIAN ART OF THE 17TH CENTURY AND ITS BOOK SOURCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2023): 88–101. http://dx.doi.org/10.28995/2686-7249-2023-2-88-101.
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The article deals with a rather rare for Russian art of the 17th century story of the Seven Sacraments. Its source was the engravings of the printing house of the Kyev Pechersk Lavra, which were among the book “projects” of the head of the Kyiv Metropolis of the Constantinople Orthodox Church, Petro Mohyla (1632–1647). A few images of that motif have long been known to researchers, but the origin of its variations has not been revealed. The issue is studied on the examples of two icons of the last quarter of the 17th century “Crucifixion with the Seven Sacraments”. Their distinguishing feature is the depicting the optional for all Christians sacrament of marriage in the foreground. The author of the article suggests that the creation of such an iconography was associated with the marriage of Tsar Feodor Alekseyevich. The development of baroque aesthetics also prompted artists to combine elements of different iconographic schemes in one composition and create a complicated version of the Life-Giving Tree with scenes of the seven Sacraments and the Passion of Jesus cycle. They used several literary and visual sources. The surviving samples of such a composition demonstrate the variability of its iconography and the creative nature of the work of Russian icon painters in the 17th century, who could create completely independent works on the same subject with pronounced individual characteristics.
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Borgers, Kathrin. "Recto and Verso: The Pictorial Fronts and the Marbled Reverses of Two Flemish Panel Paintings." Arts 11, no. 1 (January 3, 2022): 10. http://dx.doi.org/10.3390/arts11010010.
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From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples.
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Osadcha, O. A. "Strategies of Representing Christian Imagery And Motives in the Art of Kharkiv in the Late Soviet Period." Culture of Ukraine, no. 71 (April 2, 2021): 100–110. http://dx.doi.org/10.31516/2410-5325.071.13.
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The aim of the study is to define the multiplicity and specificity of the approaches of the Kharkiv artists of the 1960s — 1980s to the visualization of Christian imagery and motives.
 Research methodology is based on the combination of general scientific methods of systematization, classification, synthesis, and specialized ones, related to the field of art history, namely formal and comparative, iconological and compositional analysis.
 Results. The paper is focused on the specificity of functioning of the religious theme in the fine art of Kharkiv of the 1960s — 1980s. It’s emphasized that, due to the trajectory of political discourse of that time, Christian imagery in the Ukrainian late Soviet art was largely marginalized and existed mainly in the veiled, latent form. A significant number of easel paintings, graphic and photographic works by Kharkiv artists, who belong to the circles of unofficial and “allowed” art, was analyzed. The historical context of the creation of those works is outlined. Its development was defined by a vast presence of the state control. It is shown that the authors’ perception of the given problematics was characterized by the inclination towards reflecting social reality through irony and deconstruction of the familiar sacred images and iconographic schemes (Crucifixion, Madonna, Pieta, eschatological motives). It is emphasized that such approach was often realized through the methods of collage and citation, which amplify the split between the mundanity and the Sublime.
 Novelty. The study attempts to give a comprehensive overview of the development of the religious motives and characters in the Ukrainian late Soviet art.
 The practical significance. The key points of the paper can be used both for further study of the representation of the category of sacred and transformation of its role in the Ukrainian culture in the second half of the XX — beginning of the XXI century, and its practical application in the educational and exhibition projects.
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Verbivska, H. O. "AESTHETICAL EXPERIENCE AS PATHOLOGICAL DISCOURSES OF ABJECTION AND MELANCHOLIA IN THE BEKSINSKI' ART." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 55–59. http://dx.doi.org/10.17721/ucs.2020.1(6).12.
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This article tackles the issue of aesthetic experience from the pathologized everyday discourse viewpoint in the system of relations between I and symbolic order, where transgressed and close to symbolic death I is predominant. The stage, in which I, crossing the symbolic borders, stay readable, appears to be the process of continuous constituting the aesthetic experience and its transforming into the primordial a priori structure of everyday discourse. The problem lies deeply in the preserving of evanescent borders which are said to exist in the cultural palpability and simultaneously to be exiled from the system. The article exemplifies pathological discourses by referring to the Beksinski' works, namely his numerous ways of articulating the ineffable. However, articulated ineffable, similarly to such culturally conditioned reactions as abjection and melancholia, declares double death of the discursive subject: the first time when the separation from primordial presymbolic world takes place and the second time during problematizing the symbolic borders and paradoxical immortalization concerning postulated frontiers. The aim of this article is to dig out kaleidoscope of images and sub-images from Beksinski' works through the motive of crucifixion resulting in the specific value of Christ's body and chimerical things inside the dehumanized catastrophic space. It is demonstrated how pathological discourse of melancholia could be intertwined with the discourse of abjection in the common point of transgressing the limits, making the symbolic space full of details indicating the risk of Ego being disintegrated, staying inside the transgressed limits as constituting aesthetical experience. Inexplicability of terrible post-apocalyptic world is readable via symbolic coordinates insofar as the main primal object (the body of Christ) occurs to be banished. Appearing of aesthetic experience is paralleled to the stages of psychosexual development in the existence of symbolic being where in opposition to classical freudism maternal authority is accentuated. That's how Kristevan style of psychoanalytic ruminations looks like.
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Smorąg Różycka, Małgorzata. "Miejsce ekfrazy w bizantynistycznej historiografii artystycznej." Vox Patrum 70 (December 12, 2018): 471–84. http://dx.doi.org/10.31743/vp.3217.
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In Byzantium, writing ekphrases was one of the standard literary skills, developed during school instruction. Yet, in Byzantine art history, the analysis of Byzantine ekphrases had long been beyond the scope of researchers who favoured rather the iconographic and formal comparative methods. It was not until the discovery of the role of rhetoric in the shaping of pictorial formulae and iconographic programmes of paintings, by H. Maguire, that the importance of ekphrases was fully recognised – especially as far as interpretation of the contents of art works and the understanding of mechanisms governing the development of iconographic and compositional programmes that ‘defied’ the canon were concerned. The examples of ‘reversed’ compositional schemes in the Christ’s Entry into Jerusalem scene in the Church of the Virgin at Daphni or the Holy Myrrhbearers at the Sepulchre in the Mileševa Monastery, discussed in the present paper, considered within a broad context of architectural space and the liturgy, have demonstrated that the Byzantine artist was able to freely shape his pictorial formulae while looking for new ways of visualising dogmatic content, especially in the period after the Iconoclastic Controversy (726-843). An example of Michael Psellos’ ekphrasis of an image of the Crucifixion further proves that also Byzantine writers were faced with a similar problem of finding adequate forms for expressing dogmatic content in keeping with the literary canon. In his description of the image, Psellos not only identified its particular elements (schemata) but also referred to the experience and knowledge of the recipient who was supposed to be able to discern in the picture also the reality that could not be represented using artistic means. Thus, the above affinity between the artistic and literary stances seems to release the researchers of Byzantine art from strict adherence to stereotypical interpretations in keeping with the methodological canon.
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Hickson, Sally. "Exporting Caravaggio: The Crucifixion of Saint Andrew. Erin E. Benay. Cleveland Masterwork Series 4. Cleveland: Cleveland Museum of Art, 2017. xiv + 170 pp. $28.95." Renaissance Quarterly 72, no. 4 (2019): 1450–51. http://dx.doi.org/10.1017/rqx.2019.401.
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Sherlin Johnson and S. Prabahar. "Transmedial Analysis of the Passion Narrative in the Scripture and the Movie the Passion of the Christ." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 376–79. http://dx.doi.org/10.34293/rtdh.v12is1-dec.123.
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Transmedia storytelling is the art of narrating stories using various media, with each medium adding something distinct to the narrative universe. This narrative universe may be accomplished with any media, including radio, TV, movies, video games, internet video, and web applications. The paper aims to demonstrate how different media platforms may convey one or more events over various channels to create a coherent whole. The article aims to comprehend the intricacies of translating written information into a visual medium using a cinematic approach. This study examines a trans-medial examination of two distinct transmedia storytelling approaches: the conventional methods of conveying the gospels in the Bible and the translation of the Gospels in the Scripture into a film. The two sources that were taken into consideration are the Four Gospels in the Holy Bible, which describes the final hours of Jesus’ life on Earth, and Mel Gibson’s film adaptation of those Gospels in the Scripture, The Passion of the Christ, which shows the events surrounding Christ’s conception, life, teachings, healings, temptation, and the crucifixion of Jesus Christ. Gibson opted for the transmedia medium of a movie to raise global awareness of Jesus’ sufferings in his last hours on Earth. This essay traces Gibson’s creative liberty by comparing his portrayal of The Passion of the Christ to the Biblical account of Jesus’ suffering in his final hours.
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Morlier, Margaret M. "The Death of Pan: Elizabeth Barrett Browning and the Romantic Ego." Browning Institute Studies 18 (1990): 131–55. http://dx.doi.org/10.1017/s009247250000290x.
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During the past two decades Elizabeth Barrett Browning has become most appreciated for her 1856 feminist epic Aurora Leigh, a poem in which she asserted her “highest convictions upon Life and Art.” Before publishing Aurora Leigh, however, she said that one of her most important poems was “The Dead Pan.” When she published her two-volume collection of Poems in 1844, she insisted that “The Dead Pan” be placed last for emphasis. This poem of thirty-nine stanzas, each ending with some variation of the phrase “Pan is dead,” is often overlooked today in discussions of Barrett Browning's development probably because its theme appears outdated to modern readers. Beginning with a catalogue of classical deities—such as Juno, Apollo, and Cybele—shocked by the crucifixion of Christ, the poem depicts the death of these classical gods along with their representative, Pan. In the final third of the poem they are replaced by the Christian god and his martyred son. Then the refrain “Pan is dead” changes in meaning: no longer the lament of the classical gods, the refrain becomes a joyful proclamation of the Christian poet. On a first reading, “The Dead Pan” seems simply to celebrate orthodox Christianity; it is still generally remembered as a Victorian expression of pietism or, in Douglas Bush's facetious words of 1937, a poem in which the “Greek gods are brought face to face with Christian truth and put to rout” (268).
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Titarenko, E. M. "Russian painting of the 19th century in the context of the projective aesthetics of N.F. Fyodorov." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 114–27. http://dx.doi.org/10.17588/2076-9210.2019.4.114-127.
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The article is dedicated to the insufficiently studied problem of N.F. Fyodorov’s projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as “The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)” (1880s), “About the Kremlin Walls Paintings” (1893), “Kremlin Walls” (1893), “The brilliant robber. (About Ge’s Painting “The Crucifixion”)” (1894), “Moscow Rumyantsev’s Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin” (1898) and other works. The article considers N.F. Fyodorov’s analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting “The Apparition of Christ before the People” (1858). The article traces the influence of the artist’s works on the conceptual and compositional creation of the “pictorial demonstration” of Fyodorov’s aesthetic supramoralism. It uncovers the specificity of the philosopher’s religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov’s texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov’s critical account of Ge’s “Biblical cycle” as a theurgical project. The reception of Vereschagin’s painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.
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Keefe, John. "Boltanski’s dilemma: Mimetics, distance and spectating suffering." Performing Ethos: International Journal of Ethics in Theatre & Performance 11, no. 1 (November 1, 2021): 3–22. http://dx.doi.org/10.1386/peet_00034_1.
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Working from the Crucifixion episode or pageant from the York Corpus Christi Play, two questions were asked of the spectator: <list list-type="simple"> <list-item><label>1.</label>How do they look at such a theatre (scene) from their own time and culture and experiences?</list-item> <list-item><label>2.</label>How do we look at such a theatre (scene) from our own time and culture and experiences?</list-item></list>A third question may now be asked by following what we may call ‘Boltanski’s dilemma’: what sort of pity can we really feel for an imaginary scene on the stage? This article will revisit the earlier piece (2010) as archive material to develop key themes now encapsulated by Boltanski’s question and challenge. The article will draw on current neuro-cognitive research that challenges and re-grounds our understanding of empathy and projection of self in the embodied mind. This informs the spectatorial experience, the spectator’s ability to see and accept the ‘double reality’ of the theatre and other visual (mimetic) experience, and the issues of ‘moral distance’ represented by Boltanski, Bandura and others. Boltanski’s dilemma confronts us as knowing spectators with the inherent ethical paradox of any and all representations of suffering in any given cultural and social context. The article will draw on case studies from theatre(s), film and art to illustrate and exemplify the position of the spectator: in the spirit of ethos, a series of musings, of questions and signposts as well as arguments.
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McMANUS, I. C. "Symmetry and asymmetry in aesthetics and the arts." European Review 13, S2 (August 22, 2005): 157–80. http://dx.doi.org/10.1017/s1062798705000736.
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Symmetry and beauty are often claimed to be linked, particularly by mathematicians and scientists. However philosophers and art historians seem generally agreed that although symmetry is indeed attractive, there is also a somewhat sterile rigidity about it, which can make it less attractive than the more dynamic, less predictable beauty associated with asymmetry. Although a little asymmetry can be beautiful, an excess merely results in chaos. As Adorno suggested, asymmetry probably results most effectively in beauty when the underlying symmetry upon which it is built is still apparent. This paper examines the ways in which asymmetries, particularly left-right asymmetries, were used by painters in the Italian Renaissance. Polyptychs often show occasional asymmetries, which are more likely to involve the substitution of a left cheek for a right cheek, than vice-versa. A hypothesis is developed that the left and right cheeks have symbolic meanings, with the right cheek meaning ‘like self’ and the left cheek meaning ‘unlike self’. This principle is evaluated in pictures such as the Crucifixion, the Annunciation and, the Madonna and Child. The latter is particularly useful because the theological status of the Madonna changed during the Renaissance, and her left–right portrayal also changed at the same time in a comprehensible way. Some brief experimental tests of the hypothesis are also described. Finally the paper ends by considering why it is that the left rather than the right cheek is associated with ‘unlike self’, and puts that result in the context of the universal ‘dual symbolic classification’ of right and left, which was first described by the anthropologist Robert Hertz.
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Bräunlein, Peter. "Negotiating Charisma: The Social Dimension of Philippine Crucifixion Rituals." Asian Journal of Social Science 37, no. 6 (2009): 892–917. http://dx.doi.org/10.1163/156848409x12526657425262.
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AbstractThe Philippines are the only predominantly Christian nation in Southeast Asia. The tradition of the passion of Christ is supposed to be the centre of Philippine religiousness and the fascination with the suffering, battered and dead Christ can be regarded as a characteristic feature of Philippine lowland society. The most spectacular expressions of the so-called Philippine 'Calvary Catholicism' are flagellation and crucifixion. In 1996–1998, the author studied Philippine passion rituals in the village of Kapitangan. During the Holy Week, thousands of people mostly from Manila visit the church and observe the spectacle of ritual crucifixions on Good Friday in the churchyard. In Kapitangan, mostly women are nailed to the cross, which is, however, is not an act of volition. They act under directions 'from above', possessed by Sto. Niño or Jesus Nazareno. All of them are (faith-)healers. All of them are founders of a religious movement. In this article, the author uses Ernst Troeltsch's typology — church, sect, mysticism — as a tool to raise questions about ritual crucifixion as a focus of community and collective identity formation, both on the local and national level of society. Troeltsch's typology sheds light on the delicate relation between the Philippine 'official' church and practices of the so-called 'folk-Catholicism'. It illuminates motives and aims of the healers, who are called 'new mystics' by some scholars, and the sense of belonging of their followers. It also reveals discourses of consent and dissent among the spectators and general public, provoked by that literal re-enactment of Jesus' death.
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Hibberts, Stephen, Howell G. M. Edwards, Mona Abdel-Ghani, and Peter Vandenabeele. "Raman spectroscopic analysis of a ‘ noli me tangere ’ painting." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (December 13, 2016): 20160044. http://dx.doi.org/10.1098/rsta.2016.0044.
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The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a ‘ noli me tangere ’ pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly attributable to its controversial portrayal of a polydactylic Christ with six toes on His right foot. By the late sixteenth century, after the Council of Trent, this portrayal would almost certainly have been frowned upon by the Church authorities or more controversially as a depiction of the holy. Raman spectroscopic analysis of the pigments places the painting as being consistent chronologically with the Renaissance period following the identification of cinnabar, haematite, red lead, lead white, goethite, verdigris, caput mortuum and azurite with no evidence of more modern synthetic pigments or of modern restoration having been carried out. An interesting pigment mixture found here is that of the organic dye carmine and cinnabar to produce a particular bright red pigment coloration. Stratigraphic examination of the paint fragments has demonstrated the presence of an orange resin layer immediately on top of the canvas substrate, effectively rendering the pigment as a sandwich between this substratal resin and the overlying varnish. The Raman spectroscopic evidence clearly indicates that an attribution of the artwork to the Renaissance is consistent with the scientific analysis of the pigment composition. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Chazelle, Celia. "The Cult of the Virgin Mary in Anglo-Saxon England. Mary ClaytonSaints and Relics in Anglo-Saxon England. David RollasonAnglo-Saxon Crucifixion Iconography and the Art of Monastic Revival. Barbara C. Raw." Journal of Religion 71, no. 4 (October 1991): 574–75. http://dx.doi.org/10.1086/488721.
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Alexander, J. J. G. "Anglo-Saxon Crucifixion Iconography and the Art of the Monastic Revival. By Barbara C. Raw. (Cambridge Studies in Anglo-Saxon England, 1.) Pp. xii + 296 + 16 plates. Cambridge: Cambridge University Press, 1990. £35. 0 521 36370 5." Journal of Ecclesiastical History 42, no. 3 (July 1991): 475–76. http://dx.doi.org/10.1017/s002204690000347x.
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Martins, Leonardo, and Diogo Caldas Leonardo Dantas. "Crucifixos em repartições públicas: do exame de constitucionalidade de uma prática administrativa baseada na tradição." Espaço Jurídico Journal of Law [EJJL] 17, no. 3 (December 20, 2016): 885–912. http://dx.doi.org/10.18593/ejjl.v17i3.10247.
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Resumo: A constitucionalidade da presença de crucifixos nas repartições públicas brasileiras ainda não foi adequadamente avaliada pela literatura jurídica e pelos tribunais. Partindo-se de uma análise da situação concreta e das decisões pertinentes, buscou-se encontrar o fundamento normativo de tal prática e da argumentação jurídica usada pelos órgãos estatais que avaliaram o caso e chancelaram a prática com fulcro meramente consuetudinário. Fez-se a análise em abstrato das normas constitucionais pertinentes da Constituição Federal (CF) para, então, proceder-se à análise da constitucionalidade da determinação administrativa da presença de crucifixos. Trata-se, em suma, de se responder, fundamentadamente, se e em que medida se está diante de uma intervenção estatal no direito fundamental à liberdade de crença, e se tal intervenção restaria justificada constitucionalmente, caso em que o art. 5°, VI, da Constituição Federal não teria sido violado. Conclui-se pela ausência de uma justificação constitucional e consequente verificação da violação do direito fundamental decorrente do mesmo art. 5°, VI.
 Palavras-chave: Constituição Federal. Direitos fundamentais. Liberdade de crença. Crucifixos.
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Franolić, Branko. "An Historical Outline of Croatian Painting from Crucifixtion to Computer Art." Journal of Croatian Studies 31 (1990): 40–66. http://dx.doi.org/10.5840/jcroatstud1990312.
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Nielsen, Simen K. "Caravaggio’s The Crucifixion of St. Peter." Journal of Early Modern Studies 12, no. 2 (2023): 11–64. http://dx.doi.org/10.5840/jems202312212.
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This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic representation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself.
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Marušić, Matko. "Paolo Veneziano’s arbor crucis in Dubrovnik and the Rhetoric of the Frame in the Mid-Trecento." Zeitschrift für Kunstgeschichte 85, no. 4 (November 23, 2022): 440–64. http://dx.doi.org/10.1515/zkg-2022-4003.
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Abstract The paper analyzes the wooden frame of Paolo Veneziano’s monumental Crucifixion, the largest trecento composition in the Adriatic to survive, on the triumphal arch of the church of St. Dominic in Dubrovnik. By including the scrolls’ foliage, the Old Testament prophets, and censing angels, this frame transforms a stylistically inventive yet typologically conventional “croce dipinta” into one aligned with the iconography of the arbor vitae by way of an unprecedented shift of attention to its margins. The full power of the Crucifixion is vested both in the body of the crucified Christ and its frame. At the same time, its overarching theme of the genealogy of Christ and his Passion can be subject to different readings, i.e. “doctrinal,” “liturgical,” or, as the paper tentatively proposes, “Dominican.”
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Kobielus, Stanisław. "The Concordia Novi Et Veteris Testamenti in its Juxtaposition of Illustrations: the Hitting of the Hammers of Tubalcain and the Hammering of the Nails into the Hands and Feet of Christ During the Crucifixione." Roczniki Humanistyczne 66, no. 4 SELECTED PAPERS IN ENGLISH (October 23, 2019): 37–61. http://dx.doi.org/10.18290/rh.2018.66.4-2e.
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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 61 (2013), issue 4.
 In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jabal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.
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Leith, Mary Joan Winn, and Allyson Everingham Sheckler. "Background as Foreground: The Santa Sabina Crucifixion Panel." Source: Notes in the History of Art 37, no. 4 (June 2018): 205–14. http://dx.doi.org/10.1086/699962.
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Przybos, Julia. "Polish Decadence: Leopold Staff's Igrzysko in the European Context." Nordlit 15, no. 2 (March 26, 2012): 79. http://dx.doi.org/10.7557/13.2045.
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Decadent authors writing about the past share a common artistic practice: revisionist creativity. I argue in my Zoom sur les décadents that this particular type of creativity uses as its main device recombination of legends, myths, and historical events. Historical, cultural or religious figures are reexamined and shown in a new unexpected light. I show in my book how Villiers de Isle-Adam conflates two crucial battles of the Ancient world: Marathon (490 BC) and Thermopiles (480 BC) in ashort story called "Impatience de la foule." The final result of Villiers's telescoping of separate historical events is a seamless narrative. In Hugues Rebell's "Une Saison à Baia," Saint Paul attempts to convert Roman patricians who mock his incoherent speeches. In "La Gloire de Judas," Bernard Lazare departs from the Gospels and tells the tragic story of Judas whose betrayal made the salvation of the human race possible. In Lazare's short story, Judas is a self-effacing figure who doesn't act on his own but on Jesus Christ's specific order, who sworns him into secrecy.Common in French decadent fiction, religious revisionism was largely tolerated in the secular Third Republic. Whereas censorship was quick to punish naturalist authors writing about debauched clergy in contemporary France (e.g. Louis Deprez and Henry Fèvre's Autour d'un clocher) decadent authors reinventing ancient religious stories and retelling the life of catholic saints enjoyed a relative freedom ofexpression.It is my hypothesis that taken out of its secular context, religious revisionism of the kind practiced by French decadents may be seen as shocking transgression in a fiercely catholic country like Poland. In the country that lost its independence in 1794 and was ever since seeking to regain it, Catholic Church was perceived as an essential ally in the struggle against main occupying powers: Orthodox Russia, and Protestant Prussia. In the course of the 19th century Catholicism and patriotism had been effectively fused in Polish national conscience. In this charged political context a Polish author revisiting Church dogma or tradition was at risk of being perceived not only as a religious outcast but also as a traitor to the cause of Polish independence.To test my hypothesis I propose to examine Igrzysko (Game), a forgotten play by Leopold Staff. Admired today chiefly as a poet, the young Staff wrote Igrzysko in Poland after a long sojourn in Paris where he had lived among the international crowd of fin de siècle writers and artists. The play was first produced in Lemberg in 1909 and after a few performances vanished forever from Polish theatrical repertoire.Leopold Staff's play is set in ancient Rome and depicts tribulations of an actor who, while impersonating a Christian awaiting crucifixion, converts to Christianity. In his play, Staff revives the legend of Saint Genesius, an actor in Arles who died a martyr's death in 286 under Diocletian. In Spain, Saint Genesius's legend inspired Lope de Vega who wrote Acting is Believing (Lo fingido verdadero, 1607). In France, it was the source for Jean Rotrou's Saint Genest (1646). All told, the legend of Genesius is a popular theme for artists who wish to explore the distinction between art and life. An important addition to this old tradition, Staff's play contains, however, a decadent and potentially scandalous twist. Unlike in Acting is Believing and Saint Genest, the protagonist's conversion is very short lived in Igrzysko. Fearing pain, Staff's character commits suicide and is, therefore, condemned for eternity. In my paper, I will discuss the significance of Staff's religious transgression in the context of the turn of the century arch-catholic and patriotic Poland.
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Sanchez, Christian. "“Going to the Father” Sacrificially." Journal of Theological Interpretation 17, no. 2 (December 2023): 182–200. http://dx.doi.org/10.5325/jtheointe.17.2.0182.
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Abstract This article contends that John portrays not only Jesus’s death but his entire progression to the Father (that is, his crucifixion, resurrection, and ascension) sacrificially. Discussions of Jesus’s sacrifice in John have tended to focus on Jesus’s death. Such an emphasis on death, however, coheres neither with the way John presents Jesus’s crucifixion and ascension as a singular action nor with how most ancient persons understood ritual sacrifice. It is more likely that John and his ancient audiences would have been attuned to the sacrificial connotations not only of Jesus’s death but of his arrest, trial, burial, resurrection, and ascension. By adjusting the hermeneutical category of sacrifice to agree with ancient understandings of the ritual act and its instantiations on Yom Kippur and Passover, this article traces the sacrificial logic running through John’s passion and resurrection narratives. It then concludes by demonstrating the significant social and theological implications of Jesus’s sacrifice in the Gospel of John.
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Lahuerta, Juan José. "The Crucifixions of Velázquez and Zurbarán." Res: Anthropology and aesthetics 65-66 (March 2015): 259–74. http://dx.doi.org/10.1086/691038.
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Appleby, David F. "David Rollason. Saints and Relics in Anglo-Saxon England. Cambridge, Mass.: Basil Blackwell. 1989. Pp. xii, 245. $39.95. - Barbara C. Raw. Anglo-Saxon Crucifixion Iconography and the Art of the Monastic Revival. (Cambridge Studies in Anglo-Saxon England.) New York: Cambridge University Press. 1990. Pp. xii, 296. $55.00." Albion 23, no. 3 (1991): 510–12. http://dx.doi.org/10.2307/4051116.
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