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Journal articles on the topic 'Art Sacrée'

Author: Grafiati

Published: 8 February 2025

Last updated: 31 July 2025

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1

Jégou, Anne. "Natures sacrées et territoires des sorcières écoféministes : l’exemple de l’investissement magique et politique de Starhawk." Annales de géographie N° 756-757, no. 2 (2024): 150–74. http://dx.doi.org/10.3917/ag.756.0150.

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Nos années 2010-2020 nous ramènent aux années 1970-1980 des écoféministes, des sorcières et du sacré : Starhawk, sorcière écoféministe californienne, incarne cette traversée transatlantique des époques. Au-delà des critiques, comment situer et lire sa pensée en géographie, l’analyser au regard des natures sacrées et de leurs implications territoriales, pour nourrir une réflexion paradigmatique en géographie culturelle de l’environnement ? Starhawk articule dans une pensée originale nature sacrée, magie et empowerment horizontal. Créatrice d’une earth-based spirituality , elle honore une Déesse

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Sauvage, Olivier. "La religion de Richard Wagner, entre art et sacré." Revue confluence N° 4, no. 2 (2023): 103–19. https://doi.org/10.3917/confl.004.0103.

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Les opéras de Richard Wagner, imprégnés pour la plupart de références aux mythes germaniques et scandinaves, semblent n’accorder que peu de place aux questions religieuses, si l’on excepte Parsifal . Cependant, si Wagner n’a pas composé de musique sacrée, s’il s’est engagé aux côtés des révolutionnaires de Dresde en 1849, s’il a côtoyé Bakounine et lu Ludwig Feuerbach, il ne se revendique pas pour autant athée. Nourri par la lecture du Nouveau Testament, Wagner se considérait comme un Saxon protestant, et Luther était pour lui une figure digne d’éloge, au point qu’il esquissa un opéra intitulé

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3

Laplante, Julie. "« Art de dire » Rastafari : créativité musicale et dagga dans les townships sud-africains." Drogues, santé et société 11, no. 1 (2013): 90–106. http://dx.doi.org/10.7202/1013889ar.

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Le mouvement rastafari, et son expansion à l’échelle mondiale, est un témoignage du succès d’un « art de dire » par l’expression musicale. Technique du corps et des sens, la création de la musique peut se lier à l’éthos d’un peuple. Il s’agit dans cet article de comprendre les conditions de créativité musicale au sein du quotidien rastafari des townships du Cap en Afrique du Sud. Ainsi, comment la création musicale s’insère-t-elle au coeur du mouvement rastafari sud-africain, en quoi ce processus est-il porteur de signification, voire gage de survie au quotidien ? Et plus particulièrement, que

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4

McCombie, Duncan. "Philostratus, Histoi, Imagines 2.28: Ekphrasis and the Web of Illusion." Ramus 31, no. 1-2 (2002): 146–57. http://dx.doi.org/10.1017/s0048671x00001429.

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J'ai voulu te dire simplement que je venais de jeter le plan de mon œuvre entier, après avoir trouvé la clef de moi-même, clef de voûte, ou centre de moi-même, où je me tiens comme une araignée sacrée, sur les principaux fils déjà sortis de mon esprit, et à l'aide desquels je tisserai aux points de rencontre de merveilleuses dentelles, que je devine, et qui existent déjà dans le sein de la Beauté.This paper will examine the central image of Ἱστοί (‘Looms’ or ‘Webs’), that of the web woven by the spider, as a Callimachean expression, or objectification, of the highly self-conscious treatment of

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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.

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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contem

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6

Danielson, Janet. "Harmony, Sacrifice, and Agamben’s Messianic Time." Musicological Annual 50, no. 2 (2015): 17–30. http://dx.doi.org/10.4312/mz.50.2.17-30.

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In the early twentieth century, harmony, the sacred, and even time were seen as impediments to artistic freedom, though for the ancients, harmony was the integrating force of the cosmos. Giorgio Agamben’s recent writings on the sacred and on messianic time shed new light on the emergence of polyphony. He warns that capitalism, subsuming sacral power, reduces art either to spectacle or to object for consumption.

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7

ЛЕВИЦЬКА, Мар’яна. "Сучасне сакральне мистецтво: переосмислення традиції. Огляд міжнародної наукової конференції "Współczesna sztuka sakralna. Historia i recepcja tradycji" / "Сучасне сакральне мистецтво. Історії та рецепція традиції"". Studia Ucrainica Varsoviensia, № 11 (4 грудня 2023): 221–25. http://dx.doi.org/10.31338/2299-7237suv.11.15.

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The review highlights the topics and issues of the International scientific conference held on December 6, 2021 in the online format between Warsaw and Lviv. The initiators of the conference were researchers of icon painting and practicing artists, participants of the plein airs in Nowy Sącz (Poland), interested in analytical rethinking of the modern religious art. The speakers focused on the history and prospects of the development of sacred art in Ukraine and Poland at the present stage. The conference demonstrated the importance of studying the historical sources of religious art and rethin

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8

Housset, Emmanuel. "L’art sacre, un art impossible." Revue des sciences philosophiques et théologiques 100, no. 2 (2016): 249. http://dx.doi.org/10.3917/rspt.1002.0249.

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9

Karbayeva, G. K. "https://bulhistphaa.enu.kz/article/archive/view?id=study-of-the-turkic-speaking-population-in-the-south-of-western-siberia-by-employees-of-the-research-institute-of-the-art-industry-niihp-in-the-1950s-and-1970s." BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 137, no. 4 (2021): 141–54. http://dx.doi.org/10.32523/2616-7255-2021-137-4-141-154.

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. In 2016, the patriotic act «Mangilik El» was implemented, and also in 2017, for the specification of this ideological message by profile nationwide programs, which include the creation of a specialized research center «Sacral Kazakhstan», research and analytical activity began to understand and the definition of objects that could meet the requirements in the nomination - to be sacred objects. The research center «Sacral Kazakhstan», which belongs to state research institutions, has developed lists of sacred objects, which include cultural and historical places of Kazakhstan sanctuary of nat

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10

Boranbay, B. E., G. A. Kamisheva, G. S. Oralova, and A. T. Tulebayeva. "THE SACRAL CONCEPT AND ITS INTERPRETATION." Tiltanym 89, no. 1 (2023): 73–79. http://dx.doi.org/10.55491/2411-6076-2023-1-73-79.

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The interest in the concept of sacral has been growing rapidly in science in recent years. The first definitions of this concept began to appear in the 80s of the 20th century. There is a lot of polemic in the definitions given to the concept of sacral. The term ―sacred‖ was described in various ways by the English philosopher D. Hume, and German thinkers F. Schleiermacher, M. Scheler, E. Cassirer, and M. Heidegger. Representatives of the French school of sociology as M. Moss, L. Lévy-Bruhl, J. Bataille, and M. Leiris interpreted the term diversely. Therefore, to reveal the meaning of the noti

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Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred obj

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Darmawan, I. Putu Ariyasa. "Estetika Dalam Tradisi Sakral." Jurnal Penelitian Agama Hindu 9, no. 3 (2025): 299–313. https://doi.org/10.37329/jpah.v9i3.4407.

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Art in Balinese Hindu society functions not merely as an aesthetic expression, but as an integral component of ritual practices that reflect cosmological and spiritual values. Gulingan Village in Badung serves as a significant locus for the preservation and transformation of sacred art, yet philosophical studies that position art as a medium of spiritual transcendence within Hindu aesthetics remain limited, particularly within customary communities. This study aims to explore in depth the roles and meanings of art in the religious practices of the Gulingan community, emphasizing the symbolic,

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13

Odrekhivskyj, Roman. "Iconostases of Galicia: History and Features of Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 49–58. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235127.

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The meaning of sacral art in the spiritual culture of Ukrainian people is scarcely explored. Analytic review of iconostases in Galicia during 19th and the first half of the 20th cnturies as a phenomenon of Ukrainian artistic culture may be used during the restoration of ancient religious buildings, as well as in construction of new ones. The aim of the research is a historical comparison as well as artistic and culturological analysis. A series of iconostases have been introduced into scientific circulation. The meaning of carved décor in Galician Ukrainians’ sacral culture has been outlined.

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14

Tavener, John. "The sacred in art." Contemporary Music Review 12, no. 2 (1995): 49–54. http://dx.doi.org/10.1080/07494469500640161.

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15

Moncur, Carolee. "Attacking the sacred cows." Arthritis Care & Research 1, no. 2 (1988): 116–21. http://dx.doi.org/10.1002/art.1790010208.

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16

Nicholls, Mark. "Who Saw Her Die? Unfixing the Danse sacrale in Le Sacre du printemps." New Theatre Quarterly 39, no. 2 (2023): 124–35. http://dx.doi.org/10.1017/s0266464x23000064.

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This article focuses on the last moments of Le Sacre du printemps, which opened in Paris on 29 May 1913 at the Théâtre des Champs-Élysées. Concentrating on the discourse of the creative practice that brought these moments into being, it seeks to add to our understanding of Le Sacre from the evidence of those most intimately involved with this first production. Analysis of Le Sacre demonstrates the equal viability of a great variety of readings of the work. Such readings are enabled by analysis, which regards any aspect of a creative work and its best interpretation as happily unfixed and unsta

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17

Moncur, Carolee. "Introduction: Revisiting the sacred cows." Arthritis Care & Research 7, no. 4 (1994): 167–68. http://dx.doi.org/10.1002/art.1790070402.

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18

Babaev, Kirill V. "FORMS OF SACRAL ARCHITECTURE OF THE ORIGINAL AUSTRALIANS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 5–22. https://doi.org/10.17223/22220836/55/1.

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Aboriginal Australian art, the longest unbroken art tradition in the world, has attracted much attention of scientists seeking to discover roots of the classical art traditions which obviously all come from our hunter-gatherer past. The importance of the aboriginal art for the world art studies is valued quite high mostly because it helps to shed light on the prehistory of the classical art, to identify archaic elements in the art of the ancient Near East, Antiquity and European Middle Ages. While we are limited by archaeological data in the studies of the Stone Age art of Europe or Asia, in A

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19

Goryunov, D. V., and K. V. Zagorodneva. "RELIGIOUS EKPHRASIS IN N.KOLYADA’s PLAY “PICTURE”." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (2019): 1052–56. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1052-1056.

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Taking into account the results and prospects of studying ekphrasis, religious ekphrasis is considered in the article as a verbal representation of religious artifacts. On the material of modern literature, in particular, the early play of the repertoire of Russian playwright N.V. Kolyada “Picture” (1996), the features of this type of ekphrasis are studied in the context of visual magic which was meaningful throughout the existence of art. An attempt is made to relate the icon as a theurgic act, in which “spiritual life is witnessed in images of flesh” (Sergiy Bulgakov), and a picture on the r

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20

Józsa, László. "Endemic goitre in sacral art." Orvosi Hetilap 150, no. 20 (2009): 949–51. http://dx.doi.org/10.1556/oh.2009.ho2238.

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21

Wright, Jeffrey Cyphers. "The Sacred art of Becoming." American Book Review 42, no. 5 (2021): 29–30. http://dx.doi.org/10.1353/abr.2021.0091.

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22

Addiss, Stephen, and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Journal of Aesthetic Education 26, no. 1 (1992): 115. http://dx.doi.org/10.2307/3332737.

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23

Caswell, James O., and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Pacific Affairs 65, no. 3 (1992): 405. http://dx.doi.org/10.2307/2760084.

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24

Hepi, Tangi, and Elizabeth Denton. "Secular Science Meets Sacred Art." New Zealand Journal of Counselling 30, no. 2 (2010): 1–22. http://dx.doi.org/10.24135/nzjc.v30i2.122.

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Tangi Hepi is an experienced and highly regarded drug and alcohol counsellor who brings to his practice his Māori roots and his Pākehā upbringing, as well as his clinical training and experience. As a result, he has developed a bi-cultural approach to counselling that is loosely framed by the conventions of the profession, but has been extended and given depth by the teaching he received from his paternal grandmother when he was a young boy. This article explores the counselling principles that underpin his practice, as well as some of the supporting techniques he has developed over the course

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25

Bernard, Marie-Benoît. "The Sacred Art of Love." American Benedictine Review 71, no. 2 (2020): 216–28. http://dx.doi.org/10.1353/ben.2020.a923996.

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26

Heldman, Marilyn E. "The Sacred Art of Ethiopia." Historian 57, no. 1 (1994): 35–42. http://dx.doi.org/10.1111/j.1540-6563.1994.tb01332.x.

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27

Albernaz, Frances. "The Sacred Duty of Art." Museum International 62, no. 3 (2010): 59–62. http://dx.doi.org/10.1111/j.1468-0033.2010.01734.x.

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28

Sardello, Robert. "The sacred art of maturing." Self & Society 45, no. 2 (2017): 185–86. http://dx.doi.org/10.1080/03060497.2017.1335006.

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29

White, Anthony, and Susan McCulloch. "Aboriginal Art: Sacred and Profane." Art Journal 59, no. 4 (2000): 105. http://dx.doi.org/10.2307/778126.

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30

Nordhofen, Eckhard. "Sacral Image-Scripture-Body-Art." CrossCurrents 63, no. 1 (2013): 9–25. http://dx.doi.org/10.1111/cros.12010.

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31

Moody, Ivan. "Music as a sacred art." Contemporary Music Review 12, no. 2 (1995): 23–34. http://dx.doi.org/10.1080/07494469500640141.

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32

Elezović, Nadežda. "Sacred in Modern Abstract Art." IKON 11 (January 2018): 153–62. http://dx.doi.org/10.1484/j.ikon.4.2018016.

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33

Fleming, Zara. "The sacred art of Tibet." Asian Affairs 25, no. 3 (1994): 303–7. http://dx.doi.org/10.1080/714041256.

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34

Ganz, David. "Touching Books, Touching Art." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (2017): 81–113. http://dx.doi.org/10.1558/post.32702.

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This essay deals with the role of book decoration in a tactile approach to sacred texts in the Western Middle Ages. For a long time, books and artworks have been discussed as visual objects. Taking into account their intrinsic haptic qualities opens new ways to understand the contribution of the arts to the use of sacred texts in medieval Christianity.

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35

Odrekhivskyi, Roman. "Sacred art in the context of the creation and regulation of the religious buildings environment design in Galicia." Culturology Ideas, no. 19 (1'2021) (2020): 76–89. http://dx.doi.org/10.37627/2311-9489-19-2021-1.76-89.

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Today, while constructing new churches and the restoring the old ones, historical research on the creation and regulation of the environmental design of the Galicia cult buildings is relevant. The purpose of the study is to initiate thorough research on the role of sacred art in the development of the environmental design of the religious buildings of Galicia on the material of the late XIX — early XX century. The methodology of the study is systematic, authentic, historicist, and logical. The author examined hundreds of complexes of sacral buildings in Galicia. Synthesis of sacral art and des

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Isanović, Nusret. "KA'BA – THE PROTOTYPE WORK OF ISLAMIC ARCHITECTURE." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 6 (December 15, 2008): 99–115. http://dx.doi.org/10.51728/issn.2637-1480.2008.99.

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The Ka’ba in Mekah and the Prophet’s house in Maddinah are the archetypes of Islamic architecture. They are situated in, for Muslims, most sacred places (al-haramayn). The Ka’ba represents the beginning and the Prophet’s mosque the end of forming a fundamental cultural matrix, or in other words macroparadigm, of the People of the Book as a basis for amalgamating all the crucial forms of spirit generating on the principles of Tawhid, on the consciousness about God’s uniqueness, transcedency and unexplicable. Although they have nothing in their premodial form to place them in the world of art, t

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Лещенко, Альона Михайлівна. "«ХУДОЖНЯ РЕЦЕПЦІЯ» ЯК МЕХАНІЗМ СПРИЙНЯТТЯ ТВОРІВ ХРИСТИЯНСЬКОГО САКРАЛЬНОГО МИСТЕЦТВА". Філософські обрії, № 34 (12 грудня 2015): 99–109. https://doi.org/10.5281/zenodo.35297.

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Christian sacred art, and the person himself, are defined as the systems characterized by self-development and negentropy; this makes it possible to consider the influence of sacred art works on the man from the point of view of reception mechanisms, namely, art reception. It is proved that the essence of the phenomenon «art reception» is worth considering as the effectiveness of the perception process of Christian sacred art by the recipient. A psychological mechanism of resonance attractive feature preference of the art religious image during its perception is determined as the m

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Khasanova, Ivetta. "The Sacred Code in Contemporary Ukrainian Fine Arta." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(2) (November 28, 2024): 56–64. https://doi.org/10.31500/1992-5514.20(2).2024.318251.

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Sacred art significantly influences the modern process of spiritual development of humanity, forming its worldview, as well as its moral and aesthetic consciousness. This art is not only a powerful instrument for strengthening the religious faith but also for establishing the social stance of an individual in general, its spiritual guidelines and values. After a complex analysis of the works by contemporary Ukrainian art and cultural researchers, the paper offers an analytical view of the historical influence of sacred art on the development of Ukrainian fine art, and its role in the modern sp

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Simpson, Roger. "Sacred Relics: Travelers and the Holy Grail." Arthuriana 21, no. 2 (2011): 42–58. http://dx.doi.org/10.1353/art.2011.0020.

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Dahmen, Lynne. "Sacred Romance: Silence and the Hagiographical Tradition." Arthuriana 12, no. 1 (2002): 113–22. http://dx.doi.org/10.1353/art.2002.0077.

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GAGU, Cristian. "ORTHODOX THEOLOGY AND SACRED ART IN THE BYZANTINE EMPIRE IN IX-XIII CENTURIES." Icoana Credintei 11, no. 21 (2025): 42–68. https://doi.org/10.26520/icoana.2025.21.11.42-68.

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The solemn proclamation of the triumph of the iconoclastic theology over the iconoclastic heresy on the first Sunday of Great Lent, in the year 843, did not represent the final defeat of the iconoclasts and did not bring church peace, much desired after more than a century of iconoclastic persecution. The essential role in the acquisition of this state of affairs fell to the Patriarch Photius, who had the wisdom to obtain from all the Eastern Patriarchs the proclamation of the Second Council of Constantinople as the VIIth Ecumenical Council, which led not only to the defeat definitive end of i

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Cortese, Ennio. "Une carrière byzantine de Charlemagne. Échos de droit vulgaire romano-gothique au Moyen Âge." Mélanges de l École française de Rome Moyen Âge 113, no. 2 (2001): 857–68. http://dx.doi.org/10.3406/mefr.2001.9165.

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En 754 Pépin le Bref fut sacré in regem et patritium avec ses fils. Il n’est pas croyable que le pape Étienne II ait réitéré tel quel le sacre en roi des Francs que Pépin avait déjà reçu en 751 et qui lui avait conféré un ordo indélébile. L’objet dut être différent : ou un patriciat élevé au rang royal ou tout au plus la royauté des Francs enrichie du patriciat. Le patrice par excellence et protecteur de Rome étant l’exarque, c’est à ce poste (qui était vacant) que le pape dut nommer Pépin et ses fils. Par l’unctio il traita l’exarchat en royaume et put ainsi remplacer par un rite religieux la

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de Formanoir, Maxime. "Les Lumbu, un art sacré: bungeelë yi bayisi." African Arts 50, no. 3 (2017): 95–96. http://dx.doi.org/10.1162/afar_r_00367.

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44

Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which be

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45

Haas, Jonathan, and Winifred Creamer. "The Ancient Americas: Art from Sacred Landscapes at the Art Institute of Chicago.:The Ancient Americas: Art from Sacred Landscapes." Museum Anthropology 17, no. 2 (1993): 80–85. http://dx.doi.org/10.1525/mua.1993.17.2.80.

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46

Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental forma

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47

Morgan, Peggy. "SACRED ART AND ICONOGRAPHY B.A.H.R. 1988." Journal of Beliefs & Values 9, no. 2 (1988): 24–25. http://dx.doi.org/10.1080/1361767880090208.

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Costa, António Ribeiro da. "CHRISTIAN SACRED ART: A CONSERVATION CHALLENGE." Studies in Conservation 51, no. 3 (2006): 7–11. http://dx.doi.org/10.1179/sic.2006.51.3.7.

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Paterson, Robert K. "Collecting “Tribal Art”—Sacred or Secular?" International Journal of Cultural Property 21, no. 3 (2014): 305–18. http://dx.doi.org/10.1017/s0940739114000150.

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Abstract:

Abstract:This article explores the history of collecting and dealing in non-Western cultural objects—primarily from the Pacific Islands—from the earliest explorers to the modern auction houses. It considers international and domestic laws relating to indigenous cultural material that might be seen as religious or sacred in character and concludes that while these rules clearly influence both private and institutional practices they fall short of legally impacting the functioning of otherwise lawful markets.

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Royo, A. L. y. "Indian Classical Dance: A Sacred Art?" Journal of Hindu Studies 3, no. 1 (2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

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