Thematische Bibliographien / Jesus Christ Art

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Auswahl der wissenschaftlichen Literatur zum Thema „Jesus Christ Art“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Jesus Christ Art"

Pozdnyakova, D. Y. „Coptic Christian Symbolism in Art as a Problem of Cultural Studies“. MGIMO Review of International Relations, Nr. 3(30) (28.06.2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.

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In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus

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Badriah Mohamed Abdullah Alfozan, Badriah Mohamed Abdullah Alfozan. „Monotheism among the Christians its concept and Creed implications(Critical Study)“. journal of king abdulaziz university arts and humanities 26, Nr. 3 (03.03.2018): 47–75. http://dx.doi.org/10.4197/art.26-3.3.

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Jesus was mentioned in the Holy Quran as considering God as one, God as his Lord and ordered to worship God only. However, some Christians who believed in Jesus Christ as Prophet and denied him as being Son of God or one of the Three Gods; an evidence of the depravity of the Creed of most Christians and its perversity of Jesus Message, and a reply to the followers of the three large parties (Royalism, Nestorianism and Jacobitism) in Triangulation, and the study of the Christians attitude on Monotheism throughout ages and their switch to Triangulation and notification of the invalidation of their saying of the godhead of Jesus; features the importance of this research [Monotheism among the Christians its concept and Creed implications (Critical Study)]. We will tackle here the concept of Monotheism as seen by Christians, and Monotheism after Jesus, Peace be Upon him, was lifted, the stages of Monotheism in the Christian history and texts of the Holy Book and the proof of Monotheism Creed to the Almighty God and the reply to it.

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Wibowo, Wahju Satria. „Yesus Sejarah atau Kristus Iman?: Historisitas Iman dan Karya Allah dalam Yesus Kristus“. GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 6, Nr. 1 (30.04.2021): 51. http://dx.doi.org/10.21460/gema.2021.61.631.

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Abstract There has always been a tension between Jesus of History and Christ of Faith. The figure of Jesus and the faith in Him as Christ are historical. History is a space to bring together both. Without Jesus of History, Christian faith is empty. Similarly, without the faith of the first Christian community, the figure of Jesus is nothing. The historicity of Jesus stands along with the historicity of faith in Him. Of course, above all is God’s work in history. On the one hand, using the research and discussion of the historical Jesus, this article shows that archaeological findings should influence Christianity to reconstruct faith, and reflects that history is a medium for God’s work. On the other hand, using some other writings this article shows that the work of God in history is the art of God’s entrepreneurship, including God’s work in Jesus Christ. Incarnational theology is based on the historical figure, Jesus of Nazareth. Abstrak Selalu ada ketegangan antara Yesus Sejarah dan Kristus Iman. Keduanya ada dalam sejarah manusia. Sosok Yesus dan iman kepada-Nya sebagai Kristus ada dalam sejarah. Sejarah adalah ruang untuk mempertemukan keduanya. Tanpa Yesus Sejarah, iman Kristen kosong. Di sisi lain, tanpa iman komunitas Kristiani pertama, sosok Yesus menjadi tidak terlalu penting. Historisitas Yesus berada bersama dengan historisitas iman kepada-Nya. Tentu saja, di atas segalanya ada karya Allah dalam sejarah. Dengan menggunakan penelitian dan pembahasan Yesus Sejarah, artikel ini membahas bahwa temuan Yesus Sejarah seharusnya memengaruhi kekristenan untuk membangun kembali iman, dan lalu akan merefl eksikan bahwa sejarah adalah media untuk pekerjaan Allah. Di sisi lain, dengan menggunakan beberapa tulisan lain artikel ini menunjukkan bahwa karya Allah dalam sejarah adalah “seni kewirausahaan Allah”, termasuk karya Allah dalam Yesus Kristus. Teologi inkarnasional didasarkan pada tokoh sejarah, Yesus dari Nazaret.

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Sherlin Johnson und 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 (14.12.2023): 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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Bussieres, Marie-Pierre. „A Twenty-First-Century Gospel: Jesus at the Vatican in Paolo Sorrentino’s The Young Pope“. Journal of Religion and Popular Culture 32, Nr. 3 (01.01.2021): 204–18. http://dx.doi.org/10.3138/jrpc.2018-0005.

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Paolo Sorrentino called his series The Young Pope “a thriller of the soul.” In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that conservatism is equally present with liberalism in its message.

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Dillon, Amanda. „“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53“. Religions 14, Nr. 3 (10.03.2023): 370. http://dx.doi.org/10.3390/rel14030370.

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The Arma Christi, the instruments of the Passion of Christ, are a fascinating collection of symbols evident throughout the history of Christian art. This article considers the striking re-emergence of visual depictions of the Arma Christi in the contemporary spiritual practice of Bible Journaling. How have these symbols of the Passion made their way back into the popular Christian imaginary and creative expression of Bible readers today? The creative, devotional practice of Bible Journaling is gaining popularity in many countries, notably the US. Almost exclusively practiced by women, Bible Journaling involves making artistic interventions directly in the material artefact of the printed Bible, with different creative media. In considering the value of this practice for women’s spirituality, this article employs a social semiotic approach, multimodal analysis, to survey their visual representations and to analyse in detail one specific creative intervention, “I AM THE NAIL”, as a reception of a contemporary understanding of salvation through the suffering of Jesus Christ on the cross. Also considered are intertextual readings of the Hebrew Bible (Isaiah 53: 3–5) and the NT. The semiotic influence of popular cultural products such as The Passion of the Christ movie on the visual idiom embraced by the journalers forms part of this analysis.

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Albright, Thomas D. „The Veiled Christ of Cappella Sansevero: On Art, Vision and Reality“. Leonardo 46, Nr. 1 (Februar 2013): 19–23. http://dx.doi.org/10.1162/leon_a_00479.

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A celebrated marble sculpture of the body of Jesus, known as Cristo Velato (Veiled Christ), by the 18th-century Neapolitan artist Giuseppe Sanmartino offers a dramatic demonstration of art as all-encompassing illusion. As such, Sanmartino's masterpiece provides a rare opportunity to deconstruct a multifaceted and richly deceptive perceptual experience into a collection of simple sensory elements. This analysis both yields insights into the visual tools of the artist and reveals how an empirical understanding of sensory processes can illuminate complex perceptual experiences.

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Citlak, Amadeusz. „Psychobiography of Jesus Christ in view of Władysław Witwicki’s theory of cratism“. Journal for Perspectives of Economic Political and Social Integration 21, Nr. 1-2 (01.12.2015): 155–84. http://dx.doi.org/10.2478/pepsi-2015-0007.

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Abstract The article is an attempt at a critical evaluation of applying one of the most original theories of Polish psychology, i.e. W. Witwicki’s theory of cratism, to the interpretation of the activities and personality of Jesus Christ. The theory of cratism, though it provides substantial explanation possibilities, has been largely forgotten. W. Witwicki used it to try to interpret many aspects of human activity such as art, social relations, as well as the life of ancient figures, among others, Socrates and Jesus Christ. Thanks to this, he created the first ever in Polish psychology (and also one of the first in world psychology) psychobiography. The proposal to decipher the activity of Jesus of Nazareth through Witwicki, however, raises large concerns, which discouraged many psychologists, and especially religious environments. I would like to indicate the most controversial moments of his work, while drawing attention to the great value of the theory itself also today, at the beginning of the 21st century, particularly in the area of historical psychology.

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ÖZRİLİ, Yaşar. „THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING“. KutBilim Sosyal Bilimler ve Sanat Dergisi 3, Nr. 2 (28.12.2023): 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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Gamba, Ezio. „Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik“. Zeitschrift für Religions- und Geistesgeschichte 62, Nr. 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.

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AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?

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Dissertationen zum Thema "Jesus Christ Art"

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

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

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Kinman, Brent Rogers. „Kingdom, Christology, and narrative art in Luke 8:22-39“. Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Heger, Mary Anise. „One cross, two painters the theology of the cross from an art-historic perspective /“. Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Schlichtenmaier, Bert. „Die Passionsikonographie in der bildenden Kunst des 19. und frühen 20. Jahrhunderts“. Tübingen : Eigenverlag Bert Schlichtenmaier, 1987. http://catalog.hathitrust.org/api/volumes/oclc/28097793.html.

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Rye, Ashley Gail. „"The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Jefferson, Lee M. „The image of Christ the miracle worker in early Christian art“. Diss., Freely available online, 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-09052008-145010/.

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Bent, Zackery R. „Dropping the ball and other common dilemmas : a study of the post-resurrection relationship of Christ and humanity“. Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286396.

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In the Western tradition and beyond, there is a long history of art that has sought to describe and present Jesus of Nazareth from a historical and documentary perspective. The challenge I endeavor is to express the coexistence of the seen and unseen world in the present.As a Christian and an artist this project is an effort to see a marriage between my creative process and my spiritual ethos. My hope in this project is to engage a diverse audience and challenge its perspectives on the merging of faith and art.
Department of Art

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Coffey, Rosemary A. „Man of sorrows of Giovanni Bellini sources and significance /“. Champaign, Ill. : Estate of Rosemary Coffey, 1988. http://catalog.hathitrust.org/api/volumes/oclc/21829626.html.

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Snyder, Cara L. „The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /“. Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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Haller, Jeffrey. „The image of the unseen God contextual relevance in the visual portrayal of Christ /“. Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Bücher zum Thema "Jesus Christ Art"

Buechner, Frederick. The faces of Jesus. New York: Stearn, 1989.

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Marion, Wheeler, Hrsg. Jesus revealed: Images of Christ in art. New York: Portland House, 1989.

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James, Reid. The life of Christ in woodcuts. Mineola, NY: Dover Publications, 2009.

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Forsyth, P. T. Christ on Parnassus: Lectures on art, ethic, and theology. Eugene: Wipf & Stock, 1996.

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

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Rembrandt Harmenszoon van Rijn, 1606-1669. und National Gallery of Victoria, Hrsg. Christ our Light: Praying with Rembrandt's etchings of the life of Christ from the collection in the National Gallery of Victoria. New York: Continuum, 2005.

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ill, Sanderson Ruth, Hrsg. The Nativity: From the Gospels of Matthew and Luke. Boston: Little, Brown, 1993.

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Doares, Robert G. Immanuel, God with us: The life of Christ in art. Wheaton, Ill: Crossway Books, 1995.

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National Gallery of Art (U.S.), Hrsg. Jesus of Nazareth: A life of Christ through pictures ; illustrated with paintings from the National Gallery of Art, Washington, D.C. New York: Simon & Schuster Books for Young Readers, 1994.

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Philip, Law, Hrsg. Saviour: The life of Christ in words and paintings. Oxford, England: Lion, 2000.

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Buchteile zum Thema "Jesus Christ Art"

Gill, Sean. „Ecce Homo: Representations of Christ as the Model of Masculinity in Victorian Art and Lives of Jesus“. In Masculinity and Spirituality in Victorian Culture, 164–78. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230294165_12.

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Yexin, sha. „Jesus, Confucius, and John Lennon: Act I*“. In The Chinese Face of Jesus Christ: Volume 3b, 1690–702. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315086934-42.

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Davidoff, Leonore, und Catherine Hall. „'Ye are all one in Christ Jesus': men, women and religion“. In Family Fortunes, 107–48. 3rd edition. | Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315157610-5.

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„The Staff of Jesus“. In Christ the Miracle Worker in Early Christian Art, 145–76. 1517 Media, 2014. http://dx.doi.org/10.2307/j.ctt22nm6x5.11.

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„Narratives of Jesus Christ and His Mother, Mary, in Christian Art“. In A Guide to Christian Art. T&t Clark, 2020. http://dx.doi.org/10.5040/9780567685155.ch-002.

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Givens, John. „The Image of Christ and Russian Literature“. In The Image of Christ in Russian Literature, 3–15. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9780875807799.003.0001.

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This introductory chapter reveals Russia's anxiety over its Christian heritage—specifically, its anxiety over the meaning and significance of Jesus Christ. Russian literature of the past two hundred plus years is as secular as any of the literatures of its European neighbors. And yet, at the same time, like European literature, Russian literature was nurtured and developed in a culture whose art, spirituality, and thought were dominated for centuries by the image of Jesus and the beliefs and practices of the Christian faith. Indeed, as far as Russian literature is concerned, one may even argue that in its earliest forms—numerous sermons and saints' lives—there was no literature without Jesus, for these works dealt with little else than living in accordance with the words and deeds of Christ. As such, this chapter explores the context behind the anxieties of nineteenth-century Russian writers toward Christ.

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Ross, Ellen M. „Introduction“. In The Grief of God, 3–14. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195104516.003.0001.

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Abstract The gaze of late medieval England was fixed on the broken body of a wounded and bloody Jesus surrounded by weeping bystanders. Church wall paintings, manuscript illuminations, rood screens, roof bosses, reliquaries, and carvings graphically depict the anguish and pain of the tortured Christ. Sermons recount the agony, dramas reenact it, and spiritual guides counsel their disciples to meditate on the torments of the dying Jesus. In this book, I investigate the graphic Passion images that pervade late medieval English sermons, drama, art, and devotional literature.

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„“Kiss the Feet of the Infant Jesus”: The Emotional Efficacy of Early Christ Child Sculptures in Europe and Beyond“. In Emotions, Art, and Christianity in the Transatlantic World, 1450–1800, 247–79. BRILL, 2021. http://dx.doi.org/10.1163/9789004464681_008.

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„“Far Be It from Me to Glory Save in the Cross of Our Lord Jesus Christ” (Galatians 6:14): Crusade Preaching and Sermons for Good Friday and Holy Week“. In Crusading in Art, Thought and Will, 127–65. BRILL, 2018. http://dx.doi.org/10.1163/9789004386136_007.

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Martin, Dale B. „Christ“. In Biblical Truths. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300222838.003.0005.

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A view of the nature of Jesus Christ that rises to the level of full Christian orthodoxy, as expressed in such creeds and definitions as the Apostles’ Creed, and the statements of Nicea, and Chalcedon, cannot be responsibly derived from the New Testament if the constraints of modern historical criticism are obeyed. But robust and faithful views of the nature of Christ may be read from the New Testament, and even from the Old Testament, when the text is interpreted via lenses of creative, Christian interpretation, led by the holy spirit, and interpreted with the guidance of love. Moreover, though constructions of “the historical Jesus” may be used for theological reflection, the Jesus of Christian faith is the Christ of Christian creed and confessions, not the Jesus of modern historical research and construction.

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Konferenzberichte zum Thema "Jesus Christ Art"

Beuk, Bojana, und Sergej Beuk. „PLAŠTANICA KRALjA MILUTINA: MOTIV VASKRSENjA U ERI DINASTIJE PALEOLOGA“. In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.781b.

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This study is dedicated to researching the significance of the Epitaphios of King Milutin as a kind of cultural and historical heritage, whose stylistic and artistic value places this artifact among the representatives of the main development of Serbian art in the 14th century. The Epitaphios of King Milutin, as a museum derivative of Serbian medieval applied art, symbolizes the canvas with which Joseph of Arimathea embalmed the body of the Savior during the funeral of Jesus Christ. The purpose of the Epitaphios is to point to the very beginning of the Christian religion, centered on the concept of Resurrection. Therefore, the empty Epitaphios in the New Testament is not only the absence of the body but also a hint of new life, implying corporality in a new and unrepeatable anthropological framework. With a specific way of making and stylistic composition, this object of sacral origin represents the embodiment of the cultural and artistic climate of the Palaeologan dynasty. One of the basic methods applied in this paper is a comparative analysis of the motifs of the Resurrection embodied in the stylistic and artistic production of Epitaphios in Serbian medieval art, as well as a review of the significance and origin of this subject. Therefore, it is provided insight into the dual development path of the Epitaphios - on the one hand, its spiritual significance with its allegorical knowledge, and on the other hand, as a material artifact of cultural-artistic and historical value.

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Breviario, Álaze Gabriel do. „The preaching and teaching ministry of Jehovah's Witnesses: A bibliographical and narrative documentary review“. In V Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvmulti2024-187.

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The greatest biblical basis for carrying out the work of preaching and teaching by Christians is the command given by Jesus Christ before he ascended to heaven, and is recorded in Matthew 28:19, 20. The beginning of such a work of preaching/instruction and teaching was on the day of Pentecost in 33 of the Common Era (after Christ), and remains until today, as prophesied by Jesus in Matthew 24:14. This article aims to present and explain how the preaching and teaching ministry of Jehovah's Witnesses is carried out worldwide, refining them based on scientific understanding and the author's theological-ministerial experiences. To this end, under the Giftedean neoperspectivist paradigm and hypothetical-deductive method, it conducts a bibliographical and narrative documentary survey, relating the preaching and teaching ministry of these religious people with their theocratic teachings, practices and procedures, based on their neo-Christian theology. It is concluded that: a) as Christians, we are exhorted, guided, ordered by Jesus to preach and teach the good news of the Kingdom to all people, without discrimination of age, socioeconomic status, clinical condition, sexual orientation, race, ethnicity, color, religion, intellectual and cognitive level, profession, wherever they are; b) the preaching and teaching ministry includes formal, informal and hybrid testimonies, the characteristics of which are presented and compared throughout the article; c) as proselytizing practices of Jehovah's Witnesses, their preaching and teaching contribute to the construction of the concept of human dignity.

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Leopaci, Juliana Do Amaral, Mariah Boelsums und Fernanda Bredariol. „Restoration of polychrome wood sculpture: a case study with highly weakened polychrome“. In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13579.

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This article presents a case study of a polychrome wood carving sculpture representing Jesus Christ crucified. The piece belongs to the Chapel of Nossa Senhora da Glória, located in the district of Ressaca/Carandaí, Minas Gerais, Brazil. It was in a poor state of conservation, especially the very fragile polychrome, impairing the work. legibility. From the analysis of the state of conservation of the object, four important points were considered to support the proposed treatment: stability, reversibility, aesthetic legibility, and the potential oneness conceptualized by Cesare Brandi, which aimed at the stability of the material that would guarantee the potential oneness of the work without creating a historical and artistic falsehood. These points are directly linked to the modern techniques and resources used, as well as the intention to maintain the integrity and authenticity of the work. The entire polychrome process was of great importance to acquire its stability, due to the presence of four types of lacunae. Lastly, the chromatic reintegration, in which the pointillism technique was used, aimed to be distinguishable from the pictorial layer of the work. Therefore, this study aims to present the restoration process of a polychrome wood sculpture and, mainly, to demonstrate the importance of chromatic reintegration to insert and ensure aesthetic legibility and a potential oneness of the work.

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Tabunșcic, Olga. „Poppy cakes — preparation traditions“. In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.14.

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Traditional gastronomy, along with history, culture, religion and ethnicity, continues to play an important role in defi ning national and individual identity. Th e intense pace of modern life in recent decades is changing the conception of food very rapidly, and gastronomic traditions are collapsing dramatically under the action of the new preferences of the population to feed themselves. Th e tendency to standardize the taste in terms of food, leads to the disappearance of diversity and culinary identity. Th us, more and more traditional dishes, full of taste, value and history, tend to be forgotten. In the trend of revitalization of poppy cakes, the results of the study are presented within the State Program 20.8009.0807.17 REVICULT; the recipe being found in the Republic of Moldova (north and center), as well as in Moldova and Transylvania, Romania. Poppy cakes (Turte cu mac) are considered fasting dishes. Th ose prepared on Christmas Eve are called Th e Diapers/Wormwoods of the Lord, Julfe, Christmas Cakes referring to the diapers in which the Jesus Christ was wrapped at birth, recording the end of the fasting and being off ered as alms. Th ey are attested, according to several sources, in existence for hundreds of years, the recipes being transmitted from generation to generation and adapted to the possibilities of the time. Th us, we fi nd in some localities cakes prepared and covered only with poppy, aft er their burial (Tarasova village, Mateuţi village, Rezina district), in other localities buried with julfă (mixture of water sweetened with honey, with shredded hemp seeds in the square and passed through the sieve) (Drochia district), covered with shredded walnuts and with poppy or only with poppy (v. Salcia, v. Climatuţii de Jos, v. Socola, v. Vadul-Rascov, Floreși/Kamenka/Soldanesti district, Ungheni district, Donduseni district). Th e utensils used in the preparation of various sweet dishes, such as macohon, marcoteţ, budăiul, etc. are of interest for the study.

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Dimitrijević, Milan S. „O NOVČARSTVU KRALjA MILUTINA“. In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.413d.

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Serbian medieval coinage has a great number of species and variants, with interesting and imaginative representations. The first Serbian medieval coins ap- peared during the reign of King Radoslav (1228-1234), and were coined by dif- ferent kings, nobles and towns during around 230 years, until the last ones, dur- ing the reign of Lazar Djurdjević (1456-1458). King Milutin's monetary emis- sions were numerous during his long and successfull reign from 1282 to 1321. Concerning his coinage there are some uncertainties in attribution of some coins. Additionally, exist different divisions of his coinage in species. Sergije Dimi- trijević (2001) divides King Milutin's coinage in 13 species and 47 subspecies, describing 104 coins in his Catalogue. Vujadin Ivanišević (2001) enumerates ten basic species and Miroslav Jovanović (2001) divides Milutin's coinage in 17 species. Additionally, uncertain is and the coinage of Milutin's father King Uroš I. Dimitrijević (2001) attributes to him three species and describe 74 coins while Ivanišević (2001) all these coins attributes to Milutin and includes in the men- tioned ten species. On the other hand, Jovanović (2001) include these three spe- cies in the coinage of King Dragutin. There is not even a single opinion what is obverse and what reverse of the coin. Dimitrijević (2001) and Jovanović (2001) adopt traditional view that obverse is the side where is represented the king who issued the coin while Ivanišević (2001), following the Byzantine tradition, takes the side where the Jesus Christ is presented like obverse. In this contribution, we present rich and diversiform coinage of King Milutin. Special attention will be paid on a dinar of King Milutin, with the sitting ruler. In the right hand he has a straight sword, and in his left a banner. On the back is the queen sitting on the throne and holding a lilium (Dimitrijević, 1976, 2005). Dimitrijević (2006) thought that this is the most beautifull coin of King

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