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Artículos de revistas 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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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 aes

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2

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 Jew

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3

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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4

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 c

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5

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 Deat

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6

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, Northumberlan

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7

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 di

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8

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

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9

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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10

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- t

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11

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

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12

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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13

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 p

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14

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

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15

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

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16

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

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17

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.

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18

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

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19

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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20

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 s

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21

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, ult

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22

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 allusio

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23

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. Galy

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24

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 r

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25

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

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26

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

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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

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28

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 emphas

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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 e

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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

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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 examina

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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

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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 th

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35

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 fee

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36

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 pa

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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

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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 att

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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

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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

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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 an

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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 ma

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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 historic

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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 bu

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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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