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1
Carrier, David. "Meditations on a Chinese Ancestor Portrait." Artus 2011 - 2012: The Collector's Edition 32, no. 1 (August 2, 2013): 200–207. http://dx.doi.org/10.1386/artus.32.1.200_3.
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Stamm, Laura. "Delphinium’s portrait of queer history." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 38–52. http://dx.doi.org/10.33178/alpha.16.03.
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Delphinium: A Childhood Portrait of Derek Jarman (2009) portrays filmmaker Matthew Mishory’s interpretation of the childhood of Derek Jarman described in interviews and autobiographical writing such as At Your Own Risk. The portrait of Jarman honours his memory with a Super 8 inscription that repeats the queer sensibility of Jarman’s cinematic and painterly work. Mishory’s film positions Jarman as his filmmaking predecessor; even more so, it positions Jarman as a sort of queer ancestor. Delphinium’s sense of ancestry demands a reappraisal of Jarman’s work that foregrounds its creation of queer lineage. This article does just that, looking at Jarman’s Caravaggio (1986) and Edward II (1991) as both searches for queer origins and formations of queer futures. Through their explorations of queer continuity, Jarman’s films inscribe the process by which one learns to become queer and navigate a world that is so often hostile to queer existence. Their preservation of individual figures of the past provides a queer family history and a tool for education, a means for queers to understand their origins, as well as how to make sense of their own place in the world
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Chikhladze, Nino. "House of Vardanisdze and the Painting of Jumati Church of Archangels of the First Half of the Fourteenth Century." Caucasus Journal of Social Sciences 17, no. 1 (December 24, 2024): 11–28. https://doi.org/10.62343/cjss.2024.237.
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The article looks at the issues of establishing a powerful medieval Georgian feudal clan – the Vardanisdze – in Guria and, consequently, those of adopting the hereditary title of Gurieli seen through the portraits identified in the murals of Jumati Monastery. Based on the analysis of artistic style, the painting of the Church dates from the first half of the fourteenth century. The memorial portrait of the prideworthy ancestor of the Vardanisdze family was identified during the 2022 expedition of Tamaz Beradze Institute of Georgian Studies of the University of Georgia. Indeed, in the first half of the fourteenth century, the Gurieli - governor of Guria- of the Vardanisdze dynasty, who would most probably be depicted on the north wall near the altar of the church, must have been the initiator of representing the portrait of their ancestor. Regrettably, the murals succumbed to the later period painting and architectural alterations of the church, although the layer of the painting of the first half of the fourteenth century on the western part of the north wall still preserves a donor portrayal of a strange couple - a monk and a nun. It is probable that the monk was the first Vardanisdze, who was granted the title of Gurieli after losing Svaneti dukedom
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Mezhzherina, H. "THE ANNALISTIC PORTRAITS OF THE XI–XIII CENTURIES AND THE HIERARCHY OF MEANINGS IN THE LEXEMS ПЛЕМЯ AND РОДЪ SEMANTIC STRUCTURE." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 78–91. http://dx.doi.org/10.17721/2075-437x.2019.35.08.
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The research focuses on the fragment «socio-ethical assessment of person» of the early East Slavic world view. The conceptual domain of the fragment has been illuminated in the substantive-adjectival discours. It is the first time that the hierarchy of lexicalsemantic variants in the structure of the meaning of the terms племя and родъ (descendant → family → tribe → genus, clan → social strata → people) coincides with the hierarchy of individualized and generalized socio-ethical portraits (an individualized portrait of a person → a portrait of a clan, a genus; a generalized portrait of a tribe → a portrait of a social strata → a portrait of a people) within the Kyiv Rus’ period world view. Lexems племя and родъ can be traced back to the roots with the original meaning «which multiplied, increased, grew from one root, from one ancestor» and due to this, are interchangeable in ancient Slavic writing (this is shown in the study of P. O. Lavrovskyi). The microfragment «portrait of the social strata» consists of ethical portraits of princes, princesses, clergy, etc. It was revealed that the semantics of the terms кънuзь and кънuгыни correlates with the semantics of the terms племя and родъ. In the content of all these terms there is a combination of the semantics of birth, family relationships, tribal relations with the semantics of knowledge. In our opinion, the reason for the coincidence of portraitsclergy with portraits of princes is the development of the Indo-European root reflexes (to which the term кънuзь goes back) in the direction of semantics saint, sacred. It was proved that the hierarchy of the world view microfragments repeats social-tribal relations, social and family relationships in Kyiv Rus’. Microfragment «portrait of a clan» is represented by namings Ольговичи, Володимиричи, Ростиславичи, Мстиславичи, etc. In a certain context, the term племя could denote a large family, separate branches of the genus, people, tribe. The conceptualization of an individualized image of a person was determined by its place in the family-class hierarchy. Comparison of socio-ethical portraits of persons of the princely family (grand dukes Boris, Gleb, Andryi Bogolubskyi, Alexander Nevskyi, Izyaslav Mstislavovich, etc.) revealed that the functional-semantic peculiarities of nouns and adjectives with the meanings of an ethical assessment of a person reflect subordination between family members. The article is based on the analysis of Old East Slavic literary monuments of the XI–XIII centuries.
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Popko, V. M. "The cult of the field marshal prince Piotr Wittgenstein in families of his descendants: portraits of glorious ancestor and family relics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 1 (February 16, 2019): 81–92. http://dx.doi.org/10.29235/2524-2369-2019-64-1-81-92.
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The author analyzed the collections of descendants of the marshal prince Piotr Wittgenstein in which the artifacts connected with this historic figure are stored. Special attention is paid to lifetime portraits of the prince and also their copies. Some of works are attributed and dated, historical circumstances of their creation are specified. In 1834 the marshal has last time visited St. Petersburg. The author connects with this event the emergence of several works of art which weren’t earlier known to experts. The most interesting ones among them are works of the French artist A. Ladurner. The article shows the actions of marshal’s descendants for promoting and memorilization of his personality. For the first time the materials from the Central archive Hohenlohe in Neunstein (Germany) are published. On the basis of these documents the author speaks about history of one marshal’s portrait which was transferred in 1892 to the regiment bearing his name. The marshal’s granddaughter princess Maria Hohenlohe became the initiator of writing of a portrait and its transfer. The author of the article associates such a rich iconography of P. Wittgenstein with the manifestation of his personal cult in families of his descendants.
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Salavessa, Eunice, José Aranha, Rafael Moreira, and David M. Freire-Lista. "Proto-Early Renaissance Depictions, Iconographic Analysis and Computerised Facial Similarity Assessment Connections: The 16th Century Mural Paintings of St. Leocadia Church (Chaves, North of Portugal)." Heritage 7, no. 4 (March 29, 2024): 2031–54. http://dx.doi.org/10.3390/heritage7040096.
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The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally, it aims to associate historical events, artistic discoveries, and the expansion of portraiture as propaganda of power during the Portuguese Proto-Renaissance and Early Renaissance. On the other hand, it focuses on the prevalence of the religious and devotional over the sacred in Manueline painting. A proposal was made to identify the characters that are fundamental to the meaning of the mural paintings. An experiment was conducted on seven characters from the paintings at St. Leocadia Church, which were then compared to Nuno Gonçalves’ portraits. Facial similarity analysis was conducted on the faces portrayed in the Panels of St. Vincent, a remarkable portrait gallery from 15th-century Portugal, which has been the subject of national and international research for 130 years. Other paintings that were analysed were the oil paintings of St. Peter and St. Paul and of Infanta St. Joana, which were created by the same Quattrocento master. The purpose of the mural paintings of St. Leocadia Church could be catechetical in nature or related to the ritual practices of royal ancestor worship in royal portrait apses of the churches. It could also be associated with the Portuguese maritime expansion and the macro-imperial ideology of D. Manuel I.
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Lomi, Benedetta. "Withered Wood and Dead Ashes—Making Sense of the Sacred Bodies of Kamatari at Tōnomine." Religions 13, no. 5 (May 13, 2022): 439. http://dx.doi.org/10.3390/rel13050439.
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The portrait statue of Fujiwara Kamatari (614–669) enshrined at Tōnomine is well known for its agency and mantic powers. Known to crack whenever the stability of the clan was under threat, the icon was carefully observed and cared for. However, not one but two portrait statues of the Fujiwara ancestor existed at Tōnomine in the Heian period, until one was destroyed in the infamous 1208 attack by armed supporters of Kinpusen. This article proposes first to investigate the relationship between these two icons, to show how their dynamic interaction is at the source of the cracking episodes that came to define Kamatari’s cult in later centuries. Then, by looking at the ways in which members of the Fujiwara clan reflected on the nature of the remains of the statue lost in 1208 and on the role of the extant one, it draws attention to how the ritualization of Kamatari’s statue was also couched in Confucian ideas and practices.
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Robinson, Francis. "Anniversary General Meeting of the Royal Asiatic Society, Thursday 12 May 2005." Journal of the Royal Asiatic Society 15, no. 3 (November 2005): 395–97. http://dx.doi.org/10.1017/s1356186305005328.
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AbstractI begin by thanking the Honorary Treasurer for his report for 2004. You will note that, sadly, this will be his last report to the Society's anniversary general meeting. During the coming year Kit Naylor will step down as Honorary Treasurer. He would like to do so now, but has very kindly agreed to see the Society through its move. This has the added benefit of permitting his intended successor, Brampton Mundy, to shadow him. Kit, the Society is hugely in your debt for the time, the judgement and the goodwill you have, over the past eight years, brought to its affairs. This meeting should know that Council has commissioned a portrait drawing of Kit with the Society's bust of Henry Thomas Colebrooke in the background. Colebrooke, you will recall, was the Society's first Director and is Kit's ancestor, to whom he bears an uncanny likeness. This is a personal acknowledgement by members of Council of Kit's contribution. The portrait will be on display upstairs.
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Baidhawy, Zakiyuddin. "DINAMIKA RADIKALISME DAN KONFLIK BERSENTIMEN KEAGAMAAN DI SURAKARTA." Ri'ayah: Jurnal Sosial dan Keagamaan 3, no. 02 (January 22, 2019): 43. http://dx.doi.org/10.32332/riayah.v3i02.1319.
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This paper tries to search for religious portrait that supports the process of radicalization which is potential in rising social fragmentation; and to study process and dynamics of conflicts, and ethnic, social-economic, political, and intra and inter-religious based radicalism. This study finds out that: Firstly, Surakarta has been known as burning city in political and SARA issues in Central Java and national level. Facts has shown that since 1910 this city witnessed mass riots and amok which are nuanced by ethnic, religious, and political issues. Indeed, some riots outspread their excess and influences to other cities around, such as May 1998 and October 1999 tragedies. Secondly, ideologically Surakarta is one of the well known cities as the breeding ground of radical Islamic groups, and Javanese traditional belief (Kejawen), which still firmly grasp their ancestor values influenced by both Kasunanan and Mangkunegeran kingdoms. Lastly, some religious based conflicts and violence and terrorism seem to be contemporary trend of radicalism in Solo.
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Donde, Dipanwita. "Selfhood and Subjectivity in Sufi Thought: Image of a Mole on Emperor Akbar’s Nose." Teosofi: Jurnal Tasawuf dan Pemikiran Islam 11, no. 2 (October 8, 2021): 216–39. http://dx.doi.org/10.15642/teosofi.2021.11.2.216-239.
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This paper addresses the making of portrait-images of Mughal emperors, in which distinctness and particularity in individual features distinguished portraits of emperor Akbar from his ancestors and successors. Scholars have argued that the technique of ‘accurate’ portraits or mimesis was introduced to Mughal artists with the arrival of renaissance paintings and prints from Europe, brought by Jesuit priests to the Mughal court. However, the question of why Mughal emperors saw a need to arrive at portraiture in the likeness of individuals remains to be addressed. This paper argues that the desire to portray a ruler, in all his individual particularity, can arise only within a literary and intellectual matrix in which the individual is valued and where ideas about selfhood and subjectivity have already permeated the philosophical, political, and literary thought. Tracing the transhistorical and transcultural migration of ideas and motifs from Timurid Central Asia to Mughal India, this paper examines the transference of Sufi thought on image-making practices, particularly portraiture, in the imperial court of the Mughals in early seventeenth century.
Keywords: Portrait-images of Akbar, subjectivity, Sufi thought, poetics between text and image.
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Lebeau, Bernard. "Oocyte recruitment and spawning chronology in pike, Esox lucius, and muskellunge, Esox masquinongy." Canadian Journal of Zoology 69, no. 8 (August 1, 1991): 2194–201. http://dx.doi.org/10.1139/z91-306.
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During the reproductive cycle, the progression of oogenesis differs markedly between northern pike, Esox lucius Linnaeus, and muskellunge, Esox masquinongy Mitchill. Both species have group-synchronous ovaries but have different oocyte recruitment strategies. Pike is a single spawner, developing eggs in a single clutch annually, whereas muskellunge is a fractional spawner, producing two clutches of eggs per year. During the spawning period in large female muskellunge, oocyte counts indicate that the second clutch of eggs is equally important to the first. An event portrait of the spawning period for muskellunge is provided, whereby arrival of adults to a spawning site, egg yield, and hatching success agree with the fractional spawner concept. A hypothesis of the temporal sequence of evolutionary relationships in recruitment of oocytes for esocoid fishes is presented. The reproductive strategy of muskellunge belongs to a common esocoid ancestor, whereas that in pike is derived and unique. The significance of this divergence in closely related species remains consistent with the ecological theory that evolution of reproductive strategies is adaptive to diverse environmental conditions.
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Blashchuk, Svitlana. "Stepan Borysenok: to the Portrait of the Scientist." Ukraina Lithuanica. Studìï z ìstorìï Velikogo knâzìvstva Litovsʹkogo 2021, no. 6 (October 12, 2021): 199–218. http://dx.doi.org/10.15407/ul2021.06.199.
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The history of the law in the Grand Duchy of Lithuania has always attracted the attention of researchers. The productive period in its study was the activity of the Commission for the Study of the History of Western-Ruthenian and Ukrainian Law of All-Ukrainian Academy of Sciences (hereafter AUAS). The theoretical achievements of the commission are significant. Nowadays some of its members’ works have been republished with modern commentaries, and separate studies have been devoted to them. But there are such members whose works do not have any historiographical researches despite their great scientific achievements. One of them is the historian Stefan (Stepan) Hnatovych Borysenok (May 17, 1891 – November 14, 1937). Borysenok was a talented and extraordinary researcher. This article presents his biographical data as well as the theoretical achievements of the scientist are analyzed. The scientific achievements of the researcher in the field of law history are not very large. They are about 10 works (thorough scientific articles) and several reviews. They were significant for that time. However a few decades later after writing of these articles modern researchers point to a significant number of inaccuracies and errors in his works. S. Borysenok’s works were highly appreciated by his contemporaries and scientific mentors M. Vasylenko and O. Malynovsky. First of all they were impressed by the fact that he always tried to turn to primary sources and was critical to the works of his predecessors. His works show an excellent knowledge of the historiography of a particular research problem. In addition S. Borysenok being a lawyer by education was able to analyze in more details the certain problems that were not always clear to historians. The issues related to the First Lithuanian Statute and the history of the Bar in the Grand Duchy of Lithuania had been researched by S. Borysenok since the middle of 1920s. In particular the main subject of his research in Moscow archives was "History of the Bar in Ukraine in the 16th–18th Centuries. The special articles of the researcher are interesting and original. Among them are such articles as "Formation of a Professional Bar in the Lithuanian-Ruthenian State", "Lawyer's Fee in the Lithuanian Principality in the 16th–17th Centuries" (The latter was published in the 7th issue of the "Proceedings of the Commission for the Study of the History of Western-Ruthenian and Ukrainian Law". But that issue was destroyed). One of the greatest work by S. Borysenok concerns the history of the Bar formation in the first half of the 16th century. Also in the late 1920's the researcher had been preparing for publication a thorough work with focus on the Lithuanian Statute (history of drafting the code, sources, lists). Correspondence with Lithuanian researcher A. Janulaitis (the ancestor of the Lithuanian Statutes historiography) indicates that the manuscript of this work (or a significant part of it) probably existed. At the same time the facts of cooperation with Lithuanian historians are recorded and they give us the opportunity to hope that the lost achievements of the researcher can still be found and introduced into scientific circulation. And we are convinced that they will be the impetus for the new scientific research and will cause a significant number of scientific discussions. In the early 1930's S. Borysenok was an employee at the library. He actively worked at the acquisition of the library fund with foreign professional publications. He tried to establish and systematize international exchange. On September 23, 1937 S. Borysenok was arrested on trumped up charges of alleged involvement in an "anti-Soviet nationalist organization". On October 25 of the same year he was sentenced to death via shooting (executed on November, 14).
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Kumar, Sudhir, Qiqing Tao, Steven Weaver, Maxwell Sanderford, Marcos A. Caraballo-Ortiz, Sudip Sharma, Sergei L. K. Pond, and Sayaka Miura. "An Evolutionary Portrait of the Progenitor SARS-CoV-2 and Its Dominant Offshoots in COVID-19 Pandemic." Molecular Biology and Evolution 38, no. 8 (May 4, 2021): 3046–59. http://dx.doi.org/10.1093/molbev/msab118.
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Abstract Global sequencing of genomes of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) has continued to reveal new genetic variants that are the key to unraveling its early evolutionary history and tracking its global spread over time. Here we present the heretofore cryptic mutational history and spatiotemporal dynamics of SARS-CoV-2 from an analysis of thousands of high-quality genomes. We report the likely most recent common ancestor of SARS-CoV-2, reconstructed through a novel application and advancement of computational methods initially developed to infer the mutational history of tumor cells in a patient. This progenitor genome differs from genomes of the first coronaviruses sampled in China by three variants, implying that none of the earliest patients represent the index case or gave rise to all the human infections. However, multiple coronavirus infections in China and the United States harbored the progenitor genetic fingerprint in January 2020 and later, suggesting that the progenitor was spreading worldwide months before and after the first reported cases of COVID-19 in China. Mutations of the progenitor and its offshoots have produced many dominant coronavirus strains that have spread episodically over time. Fingerprinting based on common mutations reveals that the same coronavirus lineage has dominated North America for most of the pandemic in 2020. There have been multiple replacements of predominant coronavirus strains in Europe and Asia as well as continued presence of multiple high-frequency strains in Asia and North America. We have developed a continually updating dashboard of global evolution and spatiotemporal trends of SARS-CoV-2 spread (http://sars2evo.datamonkey.org/).
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Popko, O. N. "Ceremonial portraits of Prince Peter Lvovich Wittgenstein in the context of his iconography." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (August 5, 2021): 333–42. http://dx.doi.org/10.29235/2524-2369-2021-66-3-333-342.
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The article is devoted to the study of three ceremonial portraits of Prince Peter Lvovich Wittgenstein, a general of the Russian army and the richest landowner in Belarus in the 19th century. Most of ceremonial portraits of 19th century military men were perished in the whirlwind of wars and revolutions of the 20th century. Finding each such work, even outside our country, is of great interest.The prince’s maternal ancestors were representatives of the most famous aristocratic family in the history of Belarus. His father was the son of a Russian field marshal, hero of the war with Napoleon. Prince Peter did not leave children, all of his portraits are now outside Belarus about the descendants of his sister and brother.The paintings were revealed by the author himself, have not been studied before.The earliest portrait dates from the 1850s. and represents the prince in the uniform of a junior officer of the Horse Guards Regiment. The author’s name is not known, there is a copy of J. N. Bernhardt. The next portrait was painted by an unknown artist around 1864. The latest portrait represents a prince in a general’s uniform, completed by the Austrian artist Z. L’Alleman in 1888 after the death of his hero. Two copies of this portrait are also kept in private collections of his descendants.The article presents descriptions of portraits and their copies, analysis of the history of creation and existence in the context of the prince’s biography and his iconography, through the prism of the Russian and European tradition of writing ceremonial portraits of government officials.
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Lee, Robyn S., Nicolas Radomski, Jean-Francois Proulx, Ines Levade, B. Jesse Shapiro, Fiona McIntosh, Hafid Soualhine, Dick Menzies, and Marcel A. Behr. "Population genomics of Mycobacterium tuberculosis in the Inuit." Proceedings of the National Academy of Sciences 112, no. 44 (October 19, 2015): 13609–14. http://dx.doi.org/10.1073/pnas.1507071112.
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Nunavik, Québec suffers from epidemic tuberculosis (TB), with an incidence 50-fold higher than the Canadian average. Molecular studies in this region have documented limited bacterial genetic diversity among Mycobacterium tuberculosis isolates, consistent with a founder strain and/or ongoing spread. We have used whole-genome sequencing on 163 M. tuberculosis isolates from 11 geographically isolated villages to provide a high-resolution portrait of bacterial genetic diversity in this setting. All isolates were lineage 4 (Euro-American), with two sublineages present (major, n = 153; minor, n = 10). Among major sublineage isolates, there was a median of 46 pairwise single-nucleotide polymorphisms (SNPs), and the most recent common ancestor (MRCA) was in the early 20th century. Pairs of isolates within a village had significantly fewer SNPs than pairs from different villages (median: 6 vs. 47, P < 0.00005), indicating that most transmission occurs within villages. There was an excess of nonsynonymous SNPs after the diversification of M. tuberculosis within Nunavik: The ratio of nonsynonymous to synonymous substitution rates (dN/dS) was 0.534 before the MRCA but 0.777 subsequently (P = 0.010). Nonsynonymous SNPs were detected across all gene categories, arguing against positive selection and toward genetic drift with relaxation of purifying selection. Supporting the latter possibility, 28 genes were partially or completely deleted since the MRCA, including genes previously reported to be essential for M. tuberculosis growth. Our findings indicate that the epidemiologic success of M. tuberculosis in this region is more likely due to an environment conducive to TB transmission than a particularly well-adapted strain.
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Markulyak, Larysa Vasylivna. "Means of Character Portraying in Mykhailo Kotsiubynsky's Literary Works." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 36–43. http://dx.doi.org/10.34079/2226-3055-2021-14-24-36-43.
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The article examines a portrait as a means of creating a character in the works of Mykhailo Kotsiubynsky, an outstanding Ukrainian writer of the fin de sièclе period. It is traced that an important category of poetics is the portrayal of a character. It helps to better understand the writer's intention, to reveal his creative individuality, to understand the problems of prose. Various types of portraits are identified, and the features of portraying in the novels of M. Kotsiubynsky's works are analysed. It is proved that the portrait is an emphasis on the anthropocentrism of fiction. The significance of portraing in the context of the formation of the character's image is clarified. The author of the article believes that Mykhailo Kotsiubynsky was one of the first among the modernist writers to feel the need to search for new approaches in the depiction of artistic images in order to create not only his own world, but also an integral paradigm of the Ukrainian cultural space. In the end, the research helped him develop his own holistic and unique style, a creative manner in which the writer translates the vision angle from a blind reflection of reality into the psychology of his characters. This work of M. Kotsiubynsky went beyond the realism discourse, absorbing the main features of neo-romanticism. It is traced that the neo-romantic stream of the story is more expressive with the ethnographic part, which is complemented by the portraits of the characters. It is due to the ethnographic portrait that the mental characteristics of the characters are reflected. In the story “Shadows of Forgotten Ancestors” M. Kotsiubynsky skilfully uses an ethnographic portrait, supplementing it with a psychological one, which helps to strengthen the mental features of the characters, to create vivid images. It has been proved that it is the character's portrait as a component of the human image that acquires special significance in the repertoire of Mykhailo Kotsiubynsky's works. It helps to better reveal the nature of the character and to better understand the nature of his actions. At the same time, M. Kotsiubynsky goes beyond the limits of ethnographic descriptiveness: he is interested in the soul of a person and human nature in general, therefore the writer resorts to a combination of ethnographic features of a portrait with its psychological manifestations. It is proposed to consider a portrait as a means of expressiveness in revealing the ideological content of a prose work. The role of the artistic detail is substantiated, which emphasizes the semantic content of the psychological portrait on the one hand, and, on the other, it enriches the ethnographic gamma of the writer's prose. It is traced that the use of contrast creates a dynamic that serves the emergence of a cohesive image. Portrait descriptions are not only plot elements, but are full-fledged components of the work. It has been established that the image of the writer himself also appears through the portrait characterization of the characters, so the representation of a work of art occurs through the prism of the artist's individual perception.
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Son, Myenghee. "Features and Functions of Sŏnwŏnjŏn of the Late Chosŏn Period Reflected in Ritual Foods and Vessels, Interior Setting, and the Enshrined Portraits." Korean Journal of Art History 312 (December 31, 2021): 35–74. http://dx.doi.org/10.31065/kjah.312.202112.002.
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Sŏnwŏnjŏn (璿源殿, Hall of Jade Source) stands out from other royal portrait halls within the late Chosŏn period on account of its unofficiality. This comes through in its rites, ritual foods and vessels, interior setting, and the enshrined portraits. Sŏnwŏnjŏn was an informal sacred hall where royal family members could personally present offerings and worship before portraits of late Chosŏn kings in the inner court. Birthday tea rituals (誕辰茶禮), which drew on non-Confucian traditions, were established as the representative rite of this hall. Unlike many other ritual halls at the time, these tea rituals often featured the active participation of royal women including queen dowagers and royal consorts. From the preparation of rituals to acts of veneration, they played an active role. This stands in stark contrast to the rites of Yŏnghŭijŏn (永禧殿, Hall of Eternal Happiness), the representative official portrait hall of late Chosŏn, which were always performed by male officials. Yŏnghŭijŏn primarily used oil-and-honey pastries (油蜜菓) and brass vessels for the offering tables. Conversely, Sŏnwŏnjŏn presented vessels made from the most luxurious materials of the time, such as silver, gold, and even jade. The vessels included delicacies comprised of various kinds of meat and fish dishes for the tea rituals. Objects originally produced for the king’s use in life were also incorporated into Sŏnwŏnjŏn rites. In sum, the ritual foods and vessels for tea rituals echoed the table setting for a king in the inner banquet (內進饌) to commemorate his birthday. The rites as well as the ritual foods and vessels of Sŏnwŏnjŏn seem to have followed the tea rituals of a spirit hall, in which a deceased king’s spirit tablet was enshrined for about two years and royal family members could serve as if the late king was alive. The physical environment of a chamber at Sŏnwŏnjŏn mimicked the interior setting of a spirit hall, and consisted of a baldachin, a three-sided Five Peak screen, a royal bed, and a set of four-panel peony paintings. This interior differs from one of official portrait halls, wherein there was a one-sided Five Peak screen and a royal bed without the use of Peony screens. Indeed, Sŏnwŏnjŏn functioned as a substitute for a spirit hall. In the 19th century, the hall was distinguished from a sprit hall by the more lavish decoration of its inner space with paintings rich in symbolism, additionally including Plum screens and Sea-and-Peaches of Immortality screens. The subject matter of the paintings expressed the royal family’s hope for the eternal life of their ancestors. Portraits selected for worship in Sŏnwŏnjŏn matched the intimate and informal character of this late Chosŏn portrait hall. Unlike Yŏnghŭijŏn in which full-length portraits of late Chosŏn kings in official attire were displayed, a majority of the displayed or enshrined portraits at Sŏnwŏnjŏn presented kings in ordinary attire. Moreover, half-length portraits were enshrined therein. Kings and also the queen dowagers were primarily responsible for deciding what went into it. While ritual requirements were important to these decisions, human feelings for the portrait subjects also influenced the selection.
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Tarasenko, A. A., and O. A. Tarasenko. "TRANSFORMATION OF THE RITUAL GENEALOGICAL PORTRAIT IN PAINTING OF MIKHAILO GUIDA: EUROPEAN CONTEXT." Art and Design, no. 1 (May 23, 2023): 53–64. http://dx.doi.org/10.30857/2617-0272.2023.1.5.
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The purpose of the article is to investigate the significance of the European portrait canon in the genre painting by Mikhailo Guida: "Kuban Wedding: Dedication to Great-Grandfather Demian Doroshenko" (2004).
Methodology. The historical-cultural, comparative, iconographic, iconological, and hermeneutic methods are used.
Results. Based on a comparison with compositions on the theme of marriage in the art of antiquity, the Renaissance, and the Modern era, in Guida's painting the following has been identified: the presence of a spiritual centre (icon); the role of symmetry in constructing the ritual composition; the national character of the images and symbols (Ukrainian land, home yard, clothing, flowers, ritual objects). The wedding portrait of the Cossack family was created in the iconography of ceremonial aristocratic portraits, developed by Titian, Tintoretto, Velasquez, Rubens, Van Dyck, and Whistler.
Guida created a new form of portrait and self-portrait in the historical portrait, endowing the image of ancestors with the individual psychology of a person in times of crisis, with its inherent reflection and the desire to understand one’s place in the universe. In the composition of the Ukrainian painter, there is a sacralisation of the land and the house-yard through the connection with the universal. The laconic composition plastically corresponds to the definition of the Kuban Cossack family's place in the steppe landscape. The family is shown as a monolithic integrity, which includes horses embodying the energy of nature. The golden ratio of the composition contains the archetype of the cross. The image of the birth-giving earth is revealed by the horizontal of fertile black soil. The family is included in the spiritual vertical of the ritual "axial time" – Axis Mundi. In the connection between heaven and earth, the strength of the Ukrainian lineage and people is affirmed.
The scientific novelty of the publication lies in the fact that, for the first time, a comparison is carried out of the ideological content and the form of Guida's painting with ritual compositions on the theme of weddings and the canon of European aristocratic portraits. The art of the Ukrainian painter is incorporated into the context of European art.
Practical significance. The presented materials, their artistic-stylistic analysis, and generalization can be used in scientific research dedicated to the art of portrait-painting in Ukraine.
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Abt, Oded. "Muslim Ancestor, Chinese Hero or Tutelary God." Asian Journal of Social Science 42, no. 6 (2014): 747–76. http://dx.doi.org/10.1163/15685314-04206004.
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This paper examines the dynamic boundaries of Chinese identities and the role of family narratives in their formation. It examines the interplay between history and memory, focusing on traditions regarding ancestors of the Fujian Guo lineage of Muslim descent in China, Taiwan and the Philippines, over six centuries. Existing scholarship approaches these traditions in ethnic terms, corresponding to the ethnic discourse prevalent in the P.R.C., focusing solely on mainland groups, but overlooking other variations found overseas. Hence, scholars portray the changing narratives as reflecting a linear process: from past sinicisation, to today’s more “historically authentic” Hui identity. The present analysis offers a broader socio-cultural overview, showing how the pan-Asian Guo lineage re-imagines familial history across time and space by highlighting the forced assimilation narrative in which their early Ming ancestors falsely adopted Guo Ziyi, a Han-Chinese national hero, as their ancestor. The paper follows the narrative’s continuous transformations, analysing different interpretations of assuming Chinese identity among Muslims’ descendants within different contexts of contemporary Asia.
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Daniel, Wilson. "Honouring the ancestors." Ata: Journal of Psychotherapy Aotearoa New Zealand 11, no. 1 (September 30, 2005): 202–9. http://dx.doi.org/10.9791/ajpanz.2005.15.
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I feel privileged to have been invited to write in honour of Lewis as one of the tipuna (ancestors) of this Association. In this enjoyable exercise I have been helped greatly by the generous input of information from Joy Lowery, members of the immediate family, friends and colleagues who have shared a wide variety of perspectives. What follows is not meant to be a eulogy or a repetition of tributes offered already in the aftermath of Lewis's death, but rather a personal portrait of the man in his essential humanity.
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VESELOVSKAYA, Elizaveta. "WHAT DID OUR ANCESTORS LOOK LIKE? OR, THE CAPABILITIES OF ANTHROPOLOGICAL RECONSTRUCTION." LIFE OF THE EARTH 43, no. 3 (August 25, 2021): 347–60. http://dx.doi.org/10.29003/m2439.0514-7468.2020_43_3/347-360.
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Anthropological Reconstruction Laboratory of the Center for Physical Anthropology, Institute of Ethnology and Anthropology RAS. The article relates the current state of the M.M. Gerasimov Laboratory of Anthropological Reconstruction of the Center for Physical Anthropology, Institute of Ethnology and Anthropology, Russian Academy of Sciences. Emphasizing the role of the founder of the method of face reconstruction from the skull, the author discusses the latest improvements to this method. The data bank on the thickness of the facial integument in representatives of various ethnic groups, and the accumulated experience with regard to the relationships between facial features and the underlying structures of the skull, made it possible to create a program of craniofacial correspondence ‘The Algorithm of Appearance’, which significantly improves the process of reconstructing in vivo appearance based on the skull. The visual reconstruction of the appearance is supplemented by an anthropological description of the lifetime appearance, in terms of the ‘verbal portrait’ used in forensic science. A description of a unique collection of more than 300 sculptural and graphic portraits made on the basis of the skulls of ancient people and historical figures is given. Based on the examples of specific projects, the possibilities of anthropological reconstruction for solving applied and theoretical problems of science are shown. The reconstruction of the appearance of soldiers killed in the Second World War is the key patriotic direction of the Laboratory s work. Based on the results of these reconstructions, several fi were identifi Th Laboratory is currently at work on reconstructing the lifetime appearance of A.V. Suvorov on the basis of a death mask.
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Schlüter, Lucy L. E. "'gedaen door N. de Vos, tot Antwerpen'. Lotgevallen van de portretten van Joris Vezelaer en Margaretha Boghe, voorouders van Constantijn Huygens, geschilderd door Joos van Cleve." Oud Holland - Quarterly for Dutch Art History 119, no. 4 (2006): 147–58. http://dx.doi.org/10.1163/187501706x00302.
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AbstractBased on four letters dating from the period between December 1652 to January 1653, the article documents the vicissitudes of the portraits (and copies of them) of Joris Vezelaer and Margaretha Boghe. This couple, portrayed by Joos van Cleve in about 1518, were identified by Horst Gerson as the parents of Constantijn Huygens on his mother's side. Huygens, eager to obtain the original portraits or at least copies of them, makes enquiries from the art dealer Matthijs Musson in Antwerp and from the nephew (and niece) Buyex Alewyn, former guardians of the parental heritage in Deurne, but to his great surprise discovers copies which had been put on the market. Beatrix de Cusance, duchess of Lorraine, was so charmed by Huygens' enthusiasm for the ancestral portraits that she decided to buy them and present them to Constantijn. According to Buycx's letter of January 1653 the original portraits were sent to Vienna after the painter De Vos of Antwerp had made two sets of copies. Buycx, who owned one of these copies, consented to retrieve the original portraits from Vienna. This appeared to solve the problem of ancestral portraits, but no matter how grateful Huygens was to the Duchess of Lorraine, he was apparently not satisfied with mere copies. In a letter written fifteen years later (December 1667) it appears that Jacob Buycx had obtained further information about the location of the portraits, but had been unable to track them down after the sister of his wife, Helena Alewyn of Vienna, had received them. Buycx presumed an heir in Vienna, perhaps a Salicouffer, had them in his possession. From the Huygens collection of letters it appeared that there was another letter with information of the portrait panels. This letter, written in Dutch from Vienna (dated December 1, 1667) from an unknown writer to an unknown recipient indicates that a member of the Zollickhoffer family who had come down in the world may have sold the portraits. The letter also mentions the merchant Golddast of Vienna, who had been approached by someone in Holland to trace the "gentleman from Zuylichem" for a considerable amount of money. Unfortunately for Constantijn, however, the original portraits failed to return. One set of copies of the ancestors on both sides of the family remained until well into the eighteenth century - until 1786 - in the Huygens collection of family portraits, but to this day the whereabouts of neither of Margaretha Boghe's two copies have been traced.
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Michael Gebreyohannes, Nigus, and Abiye Daniel Ambachew. "An Ecofeminist Analysis of Aminatta Forna’s Ancestor Stones." Routledge Open Research 3 (February 6, 2025): 36. https://doi.org/10.12688/routledgeopenres.18648.2.
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Background This article examines Aminatta Forna’s Ancestor Stones from an ecofeminist point of view. Aminatta has four novels, and Ancestor Stones is one novel that addresses various significant themes of ecofeminism. Methods Textual analysis was applied as a method to investigate the extracted texts from the novel. This approach enabled an in depth examination of the novel’s themes and characters representations. Results The analysis of the novel portrays the deep interconnection between women and the natural environment by representing women as expert gardeners, which shows their deep indigenous knowledge. Beyond becoming daily consumption, these gardens convey history, which passes from generation to generation. This signifies women’s great accomplishment at gardening and cultivating their land and their intimacy with the natural environment in Africa. The novel also portrays the substantial relationship between women and rivers, forests, and other elements of the natural environment and depicts how seriously women take the degradation of nature and its impact. Similarly, the novel portrays the patriarchal exploitation of women, the natural environment, and the indigenous people at large. It reveals the exploitation and suppression that of women under polygamous marriage. It also recounts colonialism and its chained impact on women, nature and the indigenous people. The novel shows the patriarchal domination and its multifaceted impacts on marriage, family and the society at large. Conclusions In short, the novel acknowledges and values the knowledge that African women have about gardening, natural conservation, and agriculture. The novel also shows the culture, history and practice of African women and the impact of patriarchal domination they experience in many ways. Besides, it urges the active inclusion of women in environmental decision making, emphasizing their crucial role in addressing ecological crisis and the roles women play in democratization of their nation and stability of their society.
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Bell, Catherine. "Worshiping the Ancestors: Chinese Commemorative Portraits. By Jan Stuart and Evelyn S. Rawski. [Washington, DC and Stanford, CA: Freer Gallery of Art and the Arthur M. Sackler Gallery in association with Stanford University Press, 2001. 216pp. $75.00. ISBN 08047 4262 6.]." China Quarterly 173 (March 2003): 214–51. http://dx.doi.org/10.1017/s000944390343012x.
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This lovely book accompanies a show of ancestor portraits from the mid-15th to the 20th century held at the Smithsonian's Arthur M. Sackler Gallery in 2001. The Sackler's recently acquired collection, supplemented for the show with contributions from the Freer Gallery and private collections, consists of 85 paintings depicting mostly noble and upper-class men and women, probably sold by families caught in the disruptions of the late Qing.
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Kirziuk, A. A., A. S. Arkhipova, M. V. Gavrilova, I. V. Kozlova, and S. V. Belyanin. "Ancestors against order: two models of Immortal regiment." Etnograficheskoe obozrenie, no. 2 (April 15, 2023): 153–75. http://dx.doi.org/10.31857/s0869541523020082.
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The paper focuses on the two most common models of organization of the Immortal Regiment. We call the first the “social order” model. Its aim is to demonstrate the local community in its ideal condition. Such a procession is clearly structured, its participants are often uniformed, and the place of each participant depends on his or her belonging to one or another professional/age group. The second type of organization of the procession is called the “cult of ancestors” model. In this case, the order of the columns and the appearance of the portrait bearers do not matter, since the main participants in the procession are not the living, but the dead. The success of the procession organized according to this model is measured by the strength of its emotional effect: ideally, participants and spectators cry in catharsis. Describing these two models in detail, we examine the conflicts between their adherents, as well as analyze the motivations of the organizers and ordinary participants in the processions.
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Bogumil, Tatiana. "Commemorative Literary Portrait of V. M. Shukshin." Philology & Human, no. 4 (December 3, 2022): 127–40. http://dx.doi.org/10.14258/filichel(2022)4-08.
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The article focuses on the memorial lyrics about V. M. Shukshin as a way to model his image as a writer, director and actor. The focus is on the poetic obituaries by V. Vysotsky, A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky as precedent texts for the subsequent memorial tradition which developed into a corpus of works by less known poets. The memorial "supertext" on Shukshin includes a regional component associated with the "native place" of the writer, as well as more universal motifs of life and cinema in their contradictory unity, creative method (author “from grassroots”), literary evolution (ancestors and successors). The literary portrait of Shukshin is built on symbolic details: cheekbones, kersey boots, guilder rose, birch, etc. The poets mention the films that are significant in his biography: the prophetic “Kalina Krasnaya”, the fatal “They Fought for the Motherland”, unfilmed “Stepan Razin”. The pragmatic aspect of commemorative practices reveals a negative component: a parasitic self-affirmation in culture through a public commemoration of a departed celebrity.
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Якушевич, И. В., and Н. С. Ивашинина. "TYPOLOGY AND SYMBOLIC MEANINGS OF THE HOUSE SPIRIT NOMINATIONS IN RUSSIAN NATIONAL DIALECTS." Русистика и компаративистика, no. 15 (February 2, 2022): 122–44. http://dx.doi.org/10.25688/2619-0656.2021.15.08.
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В статье собраны и систематизированы диалектные названия домового разных регионов России. Актуальность исследования обусловлена необходимостью реконструировать локус, внешний облик, характерное поведение, оценочность образа русского домового и объективно противопоставить национальный образ сложившимся медийным стереотипам. Источником данной семантики является внутренняя форма диалектизмов. Найденные мотивационные семы легли в основу типологии диалектизмов и ряда их символических значений: 1) предок, 2) огонь, 3) потусторонний мир, 4) достаток, 5) двойник. Статью завершает собирательный семантический портрет русского домового. The article is devoted to the systematization and etymological analysis of the dialect nominations of a Slavic house spirit ‘domovoy’ in different regions of Russia. The relevance of the study is due, firstly, to the fact that in Russian linguistics there are very few works dedicated to the corpus of dialect names of the house spirit. Most of them are related to historical, ethnographic, folklore, literary, mythological, and esoteric studies. The systematization of the nominations of ‘domovoy’ reveals culturally significant criteria by which this mythological character exists in the linguistic picture of the world of the people. Secondly, in the situation of persistent and even aggressive expansion of the linguistic multicultural space, on the one hand, the interest of all Russian language learners in Slavic culture and mythology is stimulated. On the other hand, there is an urgent need to preserve the national linguistic heritage and based on it to reconstruct the ancient Slavic mythological worldview and symbols, which will help to solve the issue of ethnic identity of the people. The fundamental principle of dialects systematization is researching the inner form of the word (F. von Humboldt, A.A. Potebnya, N.F. Alefirenko). As a result of an extensive and continuous sampling using a number of dialect dictionaries, 11 groups of ‘domovoy’ nominations were formed based on the root morphemes with the following semantics: 1) ‘place’, 2) ‘relationship’, 3) ‘domovoy’s activities’, 4) ‘attitude’, 5) ‘appearance’, 6) ‘ani-mal’, 7) ‘shadow’, 8) ‘light’, 9) ‘fat’ (semantics of wellbeing and prosperity, 10) ‘time’. The last group is formed by taboo nominations for the pronoun used for domovoy. The inner form of the word determines not only the motivation of lexemes, but also objective symbolic meanings of the word (A.N. Afanasiev, A.A. Potebnya, A.N. Toporov). The lexeme was considered as a semantic and semiotic model of the symbol — a sign, consisting of three components: (1) word, (2) perceptive image, presented as a concept, (3) symbolic meaning, revealed as a result of reconstruction of the inner form of dialect nominations. The perceptual image expressed by the word is the signifier of the symbol, and the symbolic meaning is the signified. The study found the following symbolic meanings of the house spirit: (1) ancestor, (2) Русский язык: национальная норма, диалект, говор 123 fire, (3) underworld, death, (4) wealth, (5) a double. The article concludes with a collective semantic portrait of a Russian house spirit created as a result of the generalization.
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Lee, Valerie, Xiangmei Gu, and Yuan-Li Hou. "The Treatment of Chinese Ancestor Portraits: An Introduction to Chinese Painting Conservation Techniques." Journal of the American Institute for Conservation 42, no. 3 (2003): 463. http://dx.doi.org/10.2307/3179868.
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Lee, Valerie, Xiangmei Gu, and Yuan-Li Hou. "The Treatment of Chinese Ancestor Portraits: An Introduction to Chinese Painting Conservation Techniques." Journal of the American Institute for Conservation 42, no. 3 (January 2003): 463–77. http://dx.doi.org/10.1179/019713603806112697.
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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (October 2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.
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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of visual commemoration, but also objects for physical reverence, sites to which descendants could feel geographically closer to their forebears. Objecthood in photography refers to death in the literal sense: the photograph structures a tangible space where spiritual, temporal, and cosmopolitan worlds could converge and meet. Ancestral photographs serve as points of reference for chia abu (to ‘invite’ the ancestors) and piara abu (to ‘upkeep’ the ancestral shrine) on special occasions such as death anniversaries; where the image performs the earthly representation of a living identity, negotiating traditional Chinese social order anew in southern shores. The photographic object, when ceremonially placed next to food offerings, processional music, and incense, augments the image of the dead with a presence that is bound ever more intimately to mortal space and time. Elevated as a ‘participant’ of the ritual, the ancestral portrait transforms into a social actor inasmuch as it is entangled in a web of material practices. Rather than merely a stage-setter for physical acts of filial piety, the photograph is also integral to it.
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Charleux, Isabelle. "Jan Stuart, Evelyn S. Rawski, Worshipping the Ancestors. Chinese Commemorative Portraits." Archives de sciences sociales des religions, no. 124 (October 1, 2003): 63–170. http://dx.doi.org/10.4000/assr.919.
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Michael Gebreyohannes, Nigus, and Abiye Daniel Ambachew. "The Relationship between Women and Nature: An Ecofeminist Analysis of Aminatta Forna’s Ancestor Stones." Routledge Open Research 3 (October 15, 2024): 36. http://dx.doi.org/10.12688/routledgeopenres.18648.1.
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Background This article examines the relationship between women and nature in Aminatta Forna’s Ancestor Stones from an ecofeminist point of view. Aminatta has four novels, and Ancestor Stones is one that addresses various significant themes. One issue the novel portrays is the interlinkage between African women and their natural environment, which this article focuses on. Methods To address and obtain the objective of this research, therefore, textual analysis was applied as a method to investigate the extracted texts from the novel. This approach enabled an in depth examination of the novel’s themes and characters representations. Results The analysis of the novel portrays the deep interconnection between women and the natural environment in many ways. Firstly, the author reveals that African women are represented as expert gardeners, which shows their deep indigenous knowledge. Beyond becoming daily consumption, these gardens convey history, which passes from generation to generation. This signifies women’s great accomplishment at gardening and cultivating their land and their intimacy with the natural environment in Africa. The novel also portrays the substantial relationship between women and rivers, forests, and other elements of the natural environment and even compares the situation of women and their lives with the condition of the nation at large. Finally, the novel depicts how seriously women take the degradation of nature and its impact. Conclusions In short, the novel acknowledges and values the knowledge that African women have about gardening, natural conservation, and agriculture. Besides, it urges the active inclusion of women in environmental decision making, emphasizing their crucial role in addressing ecological crisis
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Shcherban, A. "Transformations of Hryhorii Skovoroda’s visual image in the XIX century." Culture of Ukraine, no. 85 (September 25, 2024): 70–78. http://dx.doi.org/10.31516/2410-5325.085.08.
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The relevance of the study. Ukrainians have been interested in the figure of H. Skovoroda for 200 years. A great number of portraits with the philosopher’s diffe-rent faces have been created. In modern informational space we can come across a statement that there is no picture reflecting his real features. Yet, in fact such portraits do exist, though they are sparsely known to the public that is currently using mostly the variants transformed during the XIX century. Taking all the mentioned into account, the relevance of the research is extremely topical. The purpose of the article. To characterize the changes in the visual image of H. Skovoroda on the basis of the changes in depicting his face in the portraits of the end of the XVIII–XIX centuries. The methodology is based on the historism principle in combination with comparative method, which allowed to reveal common and different features in the portraits of the philosopher. The results. The article presents the results of analysis of 9 portraits of H. Skovoroda dated as the end of the XVIII–XIX century, printed on separate sheets and painted with oil paints. There is information about the authors of one painted (the work of a painter from Slobozhanshchyna, Lukianov, still non-identified) and two printed ones. One of them was stipple engraved by a Moscow artist Petro Meshcheriakov at the beginning of the XIX century. During the first half of the XIX century, while some people who personally knew H. Skovoroda were still alive, there were two editions of separate sheets of this work (an imprint from the first edition was pasted in the manuscript of Mykhailo Kovalynskyi’s memoir) and published in a book and two magazines. As there was no criticism from the contemporaries, there are grounds to consider the portrait to reveal H. Skovoroda’s facial features accurately. Five copies of this image painted with oil paint dated approximately as the XVIII–XIX century were analyzed. The one was singled out, which had been kept by V. A. Zadonskii till the beginning of the XX century and before that had belonged to his ancestors, the philosopher’s friend Donets-Zakharzhevskyi. The second, older engraving, which author was not identified, first used to be not well-know. Yet, after its lithographic copy was published in a Petersburg edition of the philosopher’s works in 1861, its reproductions started to dominate. In 1894 the artist from Petersburg, V. Mate, created on its basis a syncretic engraving by order of D. Bahalii and for his publication. Skovoroda’s face on this engraving is distinguished by a different picture perspective and by having become flatter. Conclusion. Two variants of H. Skovoroda’s face created by engravers at the beginning of the studied period were actualized in different periods of the XIX century and changed due to copying and rethinking, which resulted in transformation of the philosopher’s visual image spread in mass culture. The scientific novelty of the research. The first complex analysis of all known portraits of H. Skovoroda of the end of the XVIII–XIX centuries has been made. The practical significance of the article. The results of the work should be taken into account when writing scientific, popular-scientific articles and educational publications or courses, as well as when creating works of monumental art.
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Behar, Doron M., Ene Metspalu, Toomas Kivisild, Alessandro Achilli, Yarin Hadid, Shay Tzur, Luisa Pereira, et al. "The Matrilineal Ancestry of Ashkenazi Jewry: Portrait of a Recent Founder Event." American Journal of Human Genetics 78, no. 3 (March 2006): 487–97. http://dx.doi.org/10.1086/500307.
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Bax, Dirk. "GOLD IS EARNED FROM THE PRODUCTION OF THAI GOLD LEAF." Indonesian Journal of Chemistry 1, no. 3 (June 5, 2010): 157–59. http://dx.doi.org/10.22146/ijc.21943.
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Thai people like to cover sacred objects or things dear to them with gold leaf.. Statues of Buddha are sometimes covered with so many layers of gold leaf that they become formless figures, that can hardly be recognized. Portraits of beloved ancestors, statues of elephants and grave tombs are often covered with gold leaf. If one considers the number of Thai people and the popularity of the habit, the amount of gold involved could be considerable.
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Sudakov, Mikhail Alexandrovich. "Portrait of the landowner and Slavophil V.A. Panov." Samara Journal of Science 6, no. 2 (June 1, 2017): 140–44. http://dx.doi.org/10.17816/snv201762210.
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The purpose of this paper is to analyze V.A. Panovs activities. He was one of the early representatives of Slavophilism. His biography is of great interest in the context of the Russian social thought history. The author characterizes V.A. Panovs main activities in scientific, editorial and publishing fields. The author also shows his cooperation with N.V. Gogol. It is shown that the most important aspect of V.A. Panovs activities was his work on two editions of the Slavophil anthology The Moscow literary and scientific collection. This edition brought together almost all prominent representatives of this social thought and caused a considerable resonance. The authors use of the Ulyanovsk Region state archive materials helped to portray the personality of the landowner Panov in his family history. The copies of charters, studied by the author, show that the consolidation of the economic positions of the Panovs family in the Volga region dates back to the 17th century. This process was associated with the active participation of V.A. Panovs ancestors in the fighting on the side of the Tsardom of Muscovy against the Polish Prince Vladislav during the Russo-Turkish war 1672-1681. V.A. Panov owned lands in three provinces (Simbirsk province, Penza province, and Nizhny Novgorod province). A notable fact of his economic activity was his participation in the holding of a special land survey.
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Halimah, Lili Halimah, Arnie Fajar, and Heni Heryani. "KAMPUNG MAHMUD, A PORTRAIT OF SOCIAL, CULTURAL, AND TECHNOLOGICAL TRANSFORMATION." International Conference on Aplied Social Sciences in Education 1, no. 1 (August 30, 2024): 77–82. https://doi.org/10.31316/icasse.v1i1.6883.
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Identity, lifestyle, and overall societal structure are often influenced by socio-cultural transformations. Kampung Mahmud has undergone socio-cultural transformation marked by the influx of technology and the onset of globalization, leading to social, cultural, and local lifestyle changes. The aim of this research is to depict the social and cultural changes in Kampung Mahmud and the impact of technology introduction on the local community. This study employs a qualitative approach involving interviews and documentation. The research aims to determine the questions to be investigated, and how socio-cultural transformations occur in Kampung Mahmud, including the role of traditional elders in managing these changes. The findings indicate that the community of Kampung Mahmud has experienced socio-cultural and technological transformations influenced by technology, politics, and cultural interactions. The village elders lack authority to prohibit or prevent these changes; instead, it is the responsibility of the villagers to adhere to or reject the rules established by their ancestors. These results contribute to the literature on socio-cultural transformation in traditional societies and provide recommendations for stakeholders to incorporate them into school curricula.
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Muslim, Azis. "ISLAM NUSANTARA: A STUDY ON THE EFFECT OF LOCAL WISDOM VALUE ON CUSTOMARY COMMUNITY’S PIETY IN KAMPUNG NAGA." Indonesian Journal of Islamic Literature and Muslim Society 5, no. 2 (March 5, 2021): 159–86. http://dx.doi.org/10.22515/islimus.v5i2.2348.
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Community empowerment takes a long time and an appropriate strategy to achieve success. Moreover, innovation delivered constitutes the regulations restricting the empowered community’s moving space. This research generally portraits pamali (taboo) strategy in conducting community empowerment and particularly aims to study local wisdom value in building the piety of Kampung Naga community. The research was conducted using phenomenological descriptive qualitative approach with an interactive technique of analysis. Data collection was carried out through interview, observation, and documentation. The result of research showed that innovation constituting local wisdom made by Kampung Naga community’s ancestor could build piety in three domains: spiritual, social, and environment. Through those three pieties, Kampung Naga community becomes a powerful Islam community in archipelago nuance and becomes Islam community that is rahmatan lil alamin.
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Lynn, Spencer K., and Irene M. Pepperberg. "Culture: In the beak of the beholder?" Behavioral and Brain Sciences 24, no. 2 (April 2001): 341–42. http://dx.doi.org/10.1017/s0140525x01413963.
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We disagree with two of Rendell and Whitehead's assertions. Culture may be an ancestral characteristic of terrestrial cetacean ancestors; not derived via marine variability, modern cetacean mobility, or any living cetacean social structure. Furthermore, evidence for vocal behavior as culture, social stability, and cognitive ability, is richer in birds than Rendell and Whitehead portray and comparable to that of cetaceans and primates.
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Haught, John. "Darwin and Contemporary Theology." Worldviews: Global Religions, Culture, and Ecology 11, no. 1 (2007): 44–57. http://dx.doi.org/10.1163/156853507x173496.
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AbstractDarwin's "dangerous idea" challenges religious trust in a providential God, that is, one who influences and eternally cares for the world. Our religious ancestors had no knowledge of biological evolution, although they were certainly aware of the suffering of humans and other living beings. Evolutionary science vastly extends the story of life and life's suffering (and creativity as well) beyond those of traditional theological awareness. In what sense, then, after Darwin, might the doctrine of divine providence still be credible, if at all? Is it perhaps possible that evolutionary portraits of life may open up fresh ways of thinking about divine providence?
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Shan, Muhammad Adnan, Mie Refn, Niels Morling, Claus Børsting, and Vania Pereira. "GENETIC PORTRAIT OF THE PUNJABI POPULATION FROM PAKISTAN USING THE PRECISION ID ANCESTRY PANEL." Forensic Science International: Genetics Supplement Series 7, no. 1 (December 2019): 87–89. http://dx.doi.org/10.1016/j.fsigss.2019.09.034.
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Watt, D. C. "Lionel Penrose, F.R.S. (1898–1972) and eugenics: Part one." Notes and Records of the Royal Society of London 52, no. 1 (January 22, 1998): 137–51. http://dx.doi.org/10.1098/rsnr.1998.0041.
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Lionel Penrose was born in London. His father, James Doyle Penrose a portrait painter, and his mother, Elizabeth Josephine (née Peckover) Penrose, were both members of the Society of Friends (Quakers) as their ancestors had been for 200 years. As Dr Harry Harris F.R.S., a colleague and author of Penrose's memoir in Biographical Memoirs of the Royal Society , observes, Lionel and his three brothers ‘were brought up strictly according to the religious principles of the Society of friends ... in later life though he remained a member of the Society of Friends he was not particularly zealous about religious meetings. However, his Quaker upbringing no doubt played an important part in determining his extreme dislike of show and pretensiousness and his pacifist outlook. Also he never acquired a taste for fiction’.
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Shotwell, Trent. "Book Review: History of African Americans: Exploring Diverse Roots." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 265. http://dx.doi.org/10.5860/rusq.58.4.7164.
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History of African Americans: Exploring Diverse Roots by Thomas J. Davis chronicles the remarkable past of African Americans from the earliest arrival of their ancestors to the election of President Barack Obama. This work was produced to recognize every triumph and tragedy that separates African Americans as a group from others in America. By distinguishing the rich and unique history of African Americans, History of African Americans: Exploring Diverse Roots provides an account of inspiration, courage, and progress. Each chapter details a significant piece of African American history, and the book includes numerous concise portraits of prominent African Americans and their contributions to progressing social life in the United States.
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Cheng, Wanli. "Examining Tang and Song Yingtang image halls from a clan sacrificial perspective." Trans/Form/Ação 46, no. 3 (September 2023): 229–48. http://dx.doi.org/10.1590/0101-3173.2023.v46n3.p229.
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Abstract: During the Tang and Song Dynasties, the ordinary officials’ patriarchal clan gradually dominated the clan community. This phenomenon has destroyed the strict hierarchical sacrificial system. Therefore, as a new form of private sacrifice, the yingtang image hall appears in the ordinary officials’ residence or at ordinary people’s homes. At present, when a statue is replaced by an image, this new cultural symbol will lead every worshiper to reach social recognition psychologically and emotionally. Through the images or portraits hanging in the hall, the worshippers can confirm whether they can create a spiritual realm visually, so that they can communicate with their ancestors or tell their prayers.
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Zhur, Kristina V., Fedor S. Sharko, Vkadimir V. Sedov, Maria V. Dobrovolskaya, Vladimir G. Volkov, Nikita G. Maximov, Andrey N. Seslavin, Nikolay A. Makarov, and Egor B. Prokhortchouk. "The Rurikids: The First Experience of Reconstructing the Genetic Portrait of the Ruling Family of Medieval Rus’ Based on Paleogenomic Data." Acta Naturae 15, no. 3 (October 30, 2023): 50–65. http://dx.doi.org/10.32607/actanaturae.23425.
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The Rurikids were the reigning house of Rus, its principalities and, ultimately the Tsardom of Russia, for seven centuries: from the IX to the end of the XVI century. According to the Primary Chronicle (the Tale of Bygone Years), the main chronicle of Rus, the Rurik dynasty was founded by the Varangian prince Rurik, invited to reign in Novgorod in 862, but still there is no direct genetic evidence of the origin of the early Rurikids. This research, for the first time, provides a genome-wide paleogenetic analysis of bone remains belonging to one of the Rurikids, Prince Dmitry Alexandrovich (?1294), the son of the Grand Prince of Vladimir Alexander Yaroslavich Nevsky (12211263). It has been established that his Y chromosome belongs to the N1a haplogroup. Most of the modern Rurikids, according to their genealogies, belonging to the N1a haplogroup, have the most similar variants of Y chromosomes to each other, as well as to the Y chromosome of Prince Dmitry Alexandrovich. Genome-wide data of the medieval and modern Rurikids unequivocally indicates that they belong to the N1a haplogroup of the Y chromosome, starting at least from the XI century (since the time of Prince Yaroslav the Wise). All the other alleged Rurikids, both ancient and modern, being carriers of other haplogroups (R1a, I2a), possess high heterogeneity of the sequence of Y chromosomes, meaning that we cannot confirm their common ancestry. The most probable ancestors of Prince Dmitry Alexandrovich in the male line were the men who left the burial ground Bolshoy Oleny Island on the coast of the Kola Peninsula about 3,600 years ago. The reconstruction of the genome of Prince Dmitry Alexandrovich indicates the contribution of three ancestral components to his origin: (1) the early medieval population of the east of Scandinavia from the island of Oland, (2) representatives of the steppe nomadic peoples of the Eurasian steppes of the Iron Age or the early medieval population of central Europe (steppe nomads from the territory of Hungary), and (3) the ancient East-Eurasian component. Reliable statistics were also obtained when the Scandinavians were replaced with the Medieval Russian Slavic populations of the XI century. Thus, for the first time, we have shown the complex nature of interethnic interactions in the formation of the nobility of medieval Rus on the example of the ancient Rurikid.
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Chiluwa, Innocent, and Isioma M. Chiluwa. "Separatists or terrorists? Jews or Nigerians?" Journal of Language and Politics 19, no. 4 (February 10, 2020): 583–603. http://dx.doi.org/10.1075/jlp.19041.chi.
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Abstract This study adopts a discourse analytical approach to examine the contested identity of the Igbos of the southeast of Nigeria. It analyses the significance of the social and political discourses in the media and the Internet about their claim to the Jewish ancestry and as “Biafrans” rather than Nigerians. The study highlights the implications of these claims and their larger political implications for Nigeria. The study also shows that ideological construction of group identity by IPOB consistently portrays them as the victim and the marginalized. And their claim to Jewish ancestry is possibly a way of seeking foreign support.
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Kirkus, M. Gregory. "Great Aunt and Great Niece: Two 17th/18th Century Members of the Bedingfield Family." Recusant History 25, no. 1 (May 2000): 29–42. http://dx.doi.org/10.1017/s0034193200031976.
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The portraits in the Great Parlour of the Bar Convent, York, include two of identical size and frame. The sitters both bear the name of Bedingfield and share the same illustrious ancestry. Both were members of the Institute of Mary and are seen wearing the same religious habit. They successively held the office of Superior of the convent and together they experienced imprisonment in the city’s infamous Ousebridge Gaol. There the similarities end, for two more different characters would be far to seek. It is the purpose of this paper to examine them.
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Matsuda, D. "The ethics of archaeology, subsistence digging, and artifact looting in Latin America: point muted counterpoint." International Journal of Cultural Property 7, no. 1 (January 1998): 87–97. http://dx.doi.org/10.1017/s0940739198770080.
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The author portrays the indigenous populations who engage in subsistence digging of sites in Latin America both as a means of supporting themselves economically and as a way of connecting themselves to their past and their ancestors who left the buried remains as a type of gift to their descendants. The article is also critical of the mainstream archaeologists, who, according to the author, hide behind the veil of scientific objectivity. Finally, the author juxtaposes the varying competing interests, particularly against the backdrop of denial of basic human and economic rights in these regions, and poses the question, to whom should these cultural remains belong?
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Martin, Dale B. "The Construction of the Ancient Family: Methodological Considerations." Journal of Roman Studies 86 (November 1996): 40–60. http://dx.doi.org/10.2307/300422.
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A remarkable new consensus, recognized even by its critics, has emerged among classical historians that ‘the normal Roman family seems to have been a “nuclear family” like our own’. The consensus is remarkable because practically all historians who support it admit that the portrait of the Roman family that emerges from many literary accounts and is enshrined in Roman law and language is nothing like the modern nuclear family. Saller demonstrates that the Romans had no term equivalent to ‘family’ in the modern sense, that is, the father-mother-children triad of the ‘nuclear family’. The English word ‘family’ has almost no relation to Roman concepts of familia and domus. As Saller explains, ‘Domus was used with regard to household and kinship to mean the physical house, the household including family and slaves, the broad kinship group including agnates and cognates, ancestors and descendants, and the patrimony’. The Latin familia, while usually narrower in reference than domus, also had little relation to anything meant by the English ‘family’.
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Prahlad, Anand. "An Open Letter to the Wickhams (and Other Descendants of Slave Owners)." Journal of American Folklore 134, no. 534 (October 1, 2021): 462–74. http://dx.doi.org/10.5406/jamerfolk.134.534.0462.
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Abstract This essay explores issues of race, power, and history and focuses on ancestry in Canaan’s Hill, a Black community descended from slaves on the adjoining plantation of Hickory Hill in Middle Virginia. It examines the idea of reparations and, in so doing, addresses nuances of the slave culture at Hickory Hill, as well as the enduring historical impact that the institution of slavery has had on American institutions in general and on common attitudes found among white Americans. These larger issues are highlighted by juxtaposing them with brief portraits and oral histories of specific family members and illustrating the effects that transgenerational trauma has had on multiple areas of their lives, including health and medical, economic, and political.