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Готові списки джерел за темами / Iconographic representations

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Статті в журналах

Добірка наукової літератури з теми "Iconographic representations"

Автор: Grafiati

Опубліковано: 20 квітня 2024

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Статті в журналах з теми "Iconographic representations"

1

Laugrand, Frédéric, and Jarich Oosten. "Representing the “Sea Woman”." Religion and the Arts 13, no. 4 (2009): 477–95. http://dx.doi.org/10.1163/107992609x12524941450000.

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AbstractThis paper examines the dynamics of the representation of the “sea woman,” sometimes known as Sedna, among the Inuit of Northeastern Canada in myths, shamanic experiences, and modern artistic representations. The varying representations of the sea women are connected to shamanic practice. The sea woman does not have a clearly defined iconography; this lack of definition gave shamans some flexibility in giving versions of encounters with the sea women, and enables Inuit artists to utilize that lack of iconographic specificity in creating their sculptures today.

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2

Odak, Marina. "From an imperial stemma to a laurel wreath. Images of rulers on prince Lazar’s coinage." Zograf, no. 46 (2022): 175–90. http://dx.doi.org/10.2298/zog2246175o.

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The paper deals with the representations of rulers on the coinage of Prince Lazar while tracing the iconographic and insignological changes in the depiction of the prince, which reflected Lazar?s political program in different phases of his reign. Modeling his first representations on the dinars he minted on the coinage images of the emperors Dusan and Uros, shaped on their money according to the formulas of Byzantine imperial images, after consolidating his power, Lazar gradually left the framework of the Byzantine ruler iconography and entered the sphere of the western monarchical image, cul

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3

Knight, Vernon. "Style and Configuration in Prehistoric Iconography." Southern Anthropological Society Proceedings 42, no. 1 (2013): 223–38. http://dx.doi.org/10.56702/mpmc7908/saspro4201.10.

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The iconography of ancient art has to do with making propositions about what that art depicts. Stylistic studies, in contrast, make propositions about the sharedness of formal properties with other objects. These can be done separately. Although many iconographic analyses of ancient art proceed with little or no consideration of style, I argue that the two modes of analysis are interdependent. I offer a methodological case that stylistic analysis is logically prior to iconographic study in the domain of ancient art. This observation argues for a distinctively staged approach to the iconography

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4

Fundic, Leonela. "Picturing Christ’s childhood: Some examples of a rare iconographic theme inspired by the infancy gospels." Zograf, no. 37 (2013): 133–45. http://dx.doi.org/10.2298/zog1337103f.

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This article examines Byzantine wall paintings dated to the thirteenth and fourteenth century depicting a rare iconographic theme of Jesus?s childhood inspired by the Infancy Gospels. The iconography shows the Virgin Mary leading the child Jesus by the hand. The child is depicted holding different objects, such as a writing tablet, an unfurled scroll, or a wicker basket filled with flowers or fruits. Several of the scenes under examination have been hitherto misidentified or altogether unknown. In addition to this, the article interprets these representations in a broader iconographic context

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5

ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (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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6

Volodarskaya, Elena A. "A Study of the Scientist’s Image in the Context of S. Moscovici’s Theory of Social Representations." RUDN Journal of Psychology and Pedagogics 18, no. 2 (2021): 402–21. http://dx.doi.org/10.22363/2313-1683-2021-18-2-402-421.

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The article describes the scientific and social aspects of the functioning of the scientific school created by S. Mosсoviсi, revealing various forms of this association: a research team, a scientific direction, an invisible college. The authors focus on the possibility of studying social representations through the inclusion of new analytical methods in the diagnostic toolkit, in particular, iconographic documents and images of a social object, which indicates the current stage of the functioning of S. Mosсoviсis scientific school. The formation of social representations not only through verba

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7

Vinzent, Jutta. "In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain." Exchange 39, no. 1 (2010): 29–48. http://dx.doi.org/10.1163/016627410x12559405201117.

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AbstractThis essay explores contemporary religious art in Britain through the lens of Homi K. Bhabha’s concept of hybridity. While he leaves it rather ‘ambivalent’, this essay suggests that in visual representations, various forms of hybridity can be distinguished: inculturation, interculturation and transculturation. These three types, hijacked from religious dialogue discourses, show a variety of power relations in representation and context; while incultural elements are based on a dominant versus subordinate role, intercultural ones form a dialogue; both expand iconographic vocabularies. T

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8

Russell-Smith, Lilla. "Stars and Planets in Chinese and Central Asian Buddhist Art in the Ninth to Fifteenth Centuries." Culture and Cosmos 10, no. 1 and 2 (2006): 99–124. http://dx.doi.org/10.46472/cc.01210.0213.

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This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how m

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9

Beckerlegge, Gwilym. "Iconographic representations of Sri Ramakrishna and Swami Vivekananda." Journal of Contemporary Religion 11, no. 3 (1996): 319–35. http://dx.doi.org/10.1080/13537909608580778.

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10

Raaphorst, Kevin, Gerda Roeleveld, Ingrid Duchhart, Wim Van der Knaap, and Adri Van den Brink. "Reading landscape design representations as an interplay of validity, readability and interactivity: a framework for visual content analysis." Visual Communication 19, no. 2 (2018): 163–97. http://dx.doi.org/10.1177/1470357218779103.

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Considering the importance of visual representations for communication between stakeholders in landscape planning and design processes, the authors identify a lack of critical visual research methods supportive of the disciplines involved. As part of such a method, they have developed an analytical framework based on semiotic and iconographic theory that enables a visual content analysis and iconographic interpretation of landscape design representations. Two projects from Rebuild by Design, a participatory transdisciplinary design competition organized in the New York City area after hurrican

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