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Journal articles on the topic 'Art Sacrée'

Author: Grafiati

Published: 8 February 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 (May 28, 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 immanente en chaque être vivant. En tant qu’activiste, son sacré est ce pour quoi nous sommes prêts à faire des sacrifices, devenant politique. Permacultrice, elle observe son « territoire-milieu de vie » et le ritualise plutôt qu’elle n’y laisse son empreinte anthropique, dessinant une territorialité alternative. Les sorcières écoféministes se situent géographiquement, au travers d’une éthique écocentrée, dans leurs territoires-milieux de vie pour défendre ce qui leur est sacré : la perpétuation de la vie sur la planète. Ce Reclaim écoféministe cherche donc à retisser les liens du vivant (humain.es inclus) qui avaient été séparé.es, dans une médiation sacrale – représentée par le territoire lui-même – et une ontologie relationnelle pour un autre art d’habiter.

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2

Laplante, Julie. "« Art de dire » Rastafari : créativité musicale et dagga dans les townships sud-africains." Drogues, santé et société 11, no. 1 (February 7, 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, quelle est la place de la plante sacrée dagga (cannabis, marijuana) dans ce processus, dont l’usage hors du mouvement est légiféré comme criminel, et dont l’usage en son sein apparaît libérateur, voire thérapeutique ? Voilà le défi de cet article qui pourra être relevé grâce à une famille musicienne/herboriste rastafari sud-africaine et à une anthropologie des sens. Dans le mouvement rastafari qui s’est érigé explicitement contre l’oppression d’un monde colonial en Jamaïque dans les années 1930, le processus de créativité musicale apparaît comme un mode de « mieux-être dans le monde », mode où les mots et les sons sont nettement privilégiés comme médium de changement social. En ce qui concerne son Herbe, la dagga, ses fonctions y sont multiples, tant sur le plan culturel que biologique, s’entrelaçant à la créativité musicale selon les ancrages positionnels particuliers des acteurs.

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3

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 art and play with illusion in the Imagines, that is, its play with the interaction of vision and text. In so doing, it will attempt to show in what ways Ἱστοί might be said to describe the artistic process of the work of which it forms a part, and to illuminate, from its context of painting and its ekphrastic oratory, something of the function and structure of ekphrasis itself. It will not be long enough to deal with the wider questions, about mimesis and the definition of ekphrasis, that it will perhaps have invited.

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4

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 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. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.

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5

Danielson, Janet. "Harmony, Sacrifice, and Agamben’s Messianic Time." Musicological Annual 50, no. 2 (April 3, 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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6

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, no. 11 (December 4, 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 rethinking the mediums of ancient sacred art in order to actualize them.

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7

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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8

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 national and regional significance. In January 2018, SRC «Sacral Kazakhstan» published the first series of books, where the objects were divided into two categories: «The Kazakhstan sacred objects of whole national importance» and «The Kazakhstan sacred objects of regional importance». In the first edition, the nationwide list included 185 objects, using the principle of equal representation from each region; 500 objects that did not pass this selection, but which were also nominated for the nationwide, were added to the regional list. These books are an invaluable information guide to the natural and historical monuments of the native land. In this article, using the example of a nationwide sacred capital object, real practices of pilgrimage to the Muslim cemetery «Karaotkel» will be recorded, as well as schemes of analysis will be studied who is the memory actor of this cemetery, which is included in the list of sacred objects of the city of Astana / Nur- Sultan. This concept of analysis in the future can be approved in research on the dissertation work «The peculiarities of memory transnational routes: cultural geography of Northern Kazakhstan».

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9

Boranbay, B. E., G. A. Kamisheva, G. S. Oralova, and A. T. Tulebayeva. "THE SACRAL CONCEPT AND ITS INTERPRETATION." Tiltanym 89, no. 1 (March 3, 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 notion of ―sacral‖ thoroughly it is of paramount importance to explain the concept in the integration of religious studies, philosophy, cultural studies, art studies, archeology, ethnology, folkloristic, and philology.This research paper clarifies the concept of ―sacral‖, and shows both well-known and unfamiliar aspects of the sacred as well as its typology that is made from the point of view of the aesthetic category. We also conducted a comparative analysis of definitions in different languages. Considering that the Latin word ―sacer‖ cannot be translated like many international terms, it was suggested to use it as sacral in the Kazakh language as well.The relevance of the topic was determined and a conclusion was made through comprehensive research, differentiation, and systematization of the concept of sacral.

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10

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (January 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 objects from living Indigenous Peoples.

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11

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. The formation of iconostasis design in the sacred environment of Galicia is investigated. The dominant and accentuating role of the iconostasis in the design of the church interior is established. The artistic carving played an important role in the history and artistic features of the iconostasis. The artistic and figurative solution of iconostases was conducted with the imitation of historical styles and used imitation of the ornamental and compositional structures of traditional folk art. Consequently, a national style emerged that became an original phenomenon of world art. Prospects for further studies are in increasing the number of studied iconostases, in investigating the symbolism of carved décor and its meaning in the sacral culture of the Ukrainians. Furthermore, the traditions of the design of religious buildings may be applied in modern construction

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12

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

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13

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

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14

Nicholls, Mark. "Who Saw Her Die? Unfixing the Danse sacrale in Le Sacre du printemps." New Theatre Quarterly 39, no. 2 (May 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 unstable. It has sometimes been accepted that the job of critics and theorists is to fix interpretations of creative works and to demonstrate conveniently closed theses about them. Creative artists are not always willing to join their critical colleagues. This was certainly the case with Le Sacre. By reading the final seven seconds of its Danse sacrale through the accounts of the work’s primary creators – composer Igor Stravinsky, designer Nicholas Roerich, and their creative intimates – this article highlights an engrossing instability of intention and interpretation. It questions the idea that Le Sacre is a sacrificial ritual in the light of how Stravinsky himself considered his work in terms of coronation and consecration.

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15

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 Australia scholars have gained access to study the living tradition of the Stone Age art, working together with its masters and getting first-hand explanations of various phenomena, methods and forms of the art. The paper aims at briefly summarising and analysing certain methods and forms of the organisation of sacral landscape and architecture of autochthonic ethnic groups of Australia which are then compared with the most archaic forms of architectural art forms of Eurasian peoples and civilisations. This goal appears to be quite important for the modern art studies since it contributes to improving the methods of architectural anthropology – a discipline studying the architectural forms of traditional societies. It will also allow to extract most archaic elements in human architectural development and possibly reconstruct the ways architecture was shaping around the globe. These issues are quite essential for the scientific art studies, especially within the growing trend of integrating traditional art forms into contemporary art. The issue of diachronic development of various forms of hand-made landscape, the origins of certain basic terms of landscape architecture is on the agenda of many researchers which makes the topic rather important. The paper presents a brief introduction into the views the Australian aborigines have on “our own land” as a sacred landscape created by the first ancestors and modified by the people. Most important forms of landscape planning and primary architecture are then described. Finally, these forms – the first attempts of the human being to construct and modify the land – are being compared to more developed albeit ancient forms of architecture and landscape design of man in Europe, Asia and Northern Africa. The author concludes that a number of basic forms of sacral architecture similar to those constructed by aboriginal Australians may in fact have served as a foundation for wellknown ancient types of structures of Eurasia including henges in Europe and Northern Asia (of which Stonehenge is best-known). Moreover, first sedentary settlements built in the Fertile Crescent in the Neolithic Age may also have resulted from sacred sites similar to those erected by the first Australians.

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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 (December 25, 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 religious plot. In the play the picture on the religious plot "The Holy Family" becomes the main character. Particular attention is paid to the complex interweaving and the collision of the sacred and the profane in a one-act play by N.V. Kolyada. The sacral implies a religious plot, the transformation of the heroes contemplating the picture, their comparison with the characters in the picture, the emphasis on the Mother of God ideal and the Christian deed of the woman; the profane is meant as interpretation of the religious plot by an unknown artist, the location of the picture, the speech of the characters, replete with abuse and obscenity, a desire for material values and the motive of the absorption of dumplings. The problematization of the boundaries between the sacred and profane in this play is substantiated. The role of the Vietnamese in the play is summarized through the prism of detailed remarks, and the time of action - the night - is emphasized.

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17

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

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18

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 design played an important role in the creation and regulation of the environmental design of the religious buildings of this region. Nevertheless, the end of the nineteenth — the beginning of the twentieth century is a period of elevation in the national culture's development of the Ukrainians of Galicia. These are interiors of churches in Lviv, Tarnivtka, Drohobych, Vorokhta and other cities and villages of the region made with imitation of the historical epochs and national style. Inheritance of historical styles, such as Ukrainian baroque and folk art traditions, played an important role in the spiritual life of the Ukrainians of Galicia. They became one of the important factors in their national self-identification and in the revival of cultural life at the turn of the nineteenth and twentieth centuries.

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Józsa, László. "Endemic goitre in sacral art." Orvosi Hetilap 150, no. 20 (May 1, 2009): 949–51. http://dx.doi.org/10.1556/oh.2009.ho2238.

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20

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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21

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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22

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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23

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

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24

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

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25

Sardello, Robert. "The sacred art of maturing." Self & Society 45, no. 2 (April 3, 2017): 185–86. http://dx.doi.org/10.1080/03060497.2017.1335006.

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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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27

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

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28

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

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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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30

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

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31

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

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Hepi, Tangi, and Elizabeth Denton. "Secular Science Meets Sacred Art." New Zealand Journal of Counselling 30, no. 2 (July 1, 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 of his counselling career. His background is described in some detail in order to locate him within both traditional Māori and contemporary Pākehā cultural contexts, although the discussion of his counselling work focuses on aspects drawn predominantly from his Māori cultural heritage. Questions raised in this discussion are an invitation for further exploration and study. [ABSTRACT FROM AUTHOR] Copyright of New Zealand Journal of Counselling is the property of New Zealand Association of Counsellors and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Ganz, David. "Touching Books, Touching Art." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (August 19, 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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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, these archetype Islamic buildings, obviously not characterized by an immanent artistic form will become the fundamental starting point of Islamic art through their symbolism and powers concealed in their universal spiritual and religious meaning. Symbolism which is inseparable part of these buildings, their form and theolatrous sense, ¨holds the seed of all that a sacral Islamic art would present¨. In this paper we try to show that Ka’ba in Mekah, like an archetype of Islam and axial point of its religious and sacral architecture, has fundamental importance in creating a spirit and unique historic being of Islamic art. The paper stresses the importance of Ka’ba in developing a unique nature of architectural expression of Islam. Ka’ba, together with the Prophet’s mosque in Maddinah, not only determined the uniqueness of spiritually-aesthetic nature of Islamic architecture and its historicallyartistic expression, but it also became a starting point of new experience of architectural space, as well as marked new perspectives of its clearly different understanding in the horizon of Islamic civilization. Keywords: Ka'ba, Islamic Architecture, Islamic art, Prophet’s mosque in Maddinah

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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 spiritual development of society, both in religious and secular aspects. The special focus is put on the artistic and stylistic differences of sacred art in its canonic and non-canonic icons. Emergence and development of Kyiv and Lviv art schools of sacred art in modern-day Ukraine were analyzed, in addition to the role of tradition in this process. The main features of development of contemporary Ukrainian icon by the leading Ukrainian icon painters were determined. The key trends of the influence of sacred art on the progress of contemporary Ukrainian icon painting were listed. The main functions of the sacred code in contemporary fine art that play a significant part in shaping the national consciousness and identity of Ukrainians were discovered.

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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 nomination impériale. Les titres de roi (reiks gothique) et de patrice avaient déjà été accouplés au Bas-Empire et arborés par les commandants foederati ; beaucoup plus tard cela fut encore le cas des rois-patrices de Croatie. Le sacre impérial de Charlemagne a été parfois considéré (Annales Regni Francorum) comme une promotion du patritius-exarque au rang d’empereur romain, c’est-à-dire comme l’aboutissement d’une carrière byzantine.

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 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 became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.

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

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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 (June 1993): 80–85. http://dx.doi.org/10.1525/mua.1993.17.2.80.

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Altová, Blanka. "Možnosti studia evangelické sakrální architektury." Lidé města 11, no. 3 (December 1, 2009): 493–552. https://doi.org/10.14712/12128112.3643.

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The article examines the possibilities of studying Protestant sacral architecture constructed in the Czech lands from the era of the issuing of the Edict of Tolerance in 1781 to the present. The registers of individual church congregations were used as the foundation for a basic art history study, as a collection of historical image sources in the ecclesiastical, cultural and social context. The aim was not to create an abstract collection of the development in the fine arts, but to analyse the form and content, deciphering the intentions of the builders and constructors. Architecture as a work of art gives witness to ambitions, visions – to what could or should be, and also to the real possibilities and situations of the constructors. It is a part of visual communication, inside the church itself, as well as in the wider social framework of state, nation and location. Protestant sacral architecture captured echoes of the “national” styles and the roots of the modern Czech Protestant tradition. The findings were compared with generally accepted meanings of the used symbols (or their systems, e.g. styles, construction typologies) in the given period and cultural space as was written in contemporary texts or that are somehow interpreted in current academic literature. At the same time, the specifics of the Protestant perception of the sacred are noticed, as is the influence of theology and liturgy on the organisation of the construction. The set of Protestant sacral constructions was divided chronologically according to significant historical moments in political history; the study examined to what extent did the history of the given churches intermingle with the history of political and social developments. It is shown that historical events and turning points have an indirect influence on Protestant sacral architecture; chiefly, they touch and effect people and their relations to church.

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Huet, Thomas. "New Perspectives on the Chronology and Meaning of Mont Bégo Rock Art (Alpes-Maritimes, France)." Cambridge Archaeological Journal 27, no. 2 (November 17, 2016): 199–221. http://dx.doi.org/10.1017/s0959774316000524.

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In 1994, H. de Lumley's teams of researchers finished the colossal task—initiated more than 20 years earlier—of recording every pecked rock engraving of Mont Bégo's rock art. The following year, in the book Le grandiose et le sacré, Lumley defined the site as a sacred mountain and attributed rock engravings, considered as ex-votos, to the Early Bronze Age and the Bell Beaker period. However, it is hard to recognize what interpretations can be directly drawn from the data: some exceptional rock engravings are considered as representative of the whole corpus of rock engravings and the most numerous ones are considered as a ‘bruit de fond’ [background noise]. Furthermore, recognition of associations—where rock engravings are contemporaneous and significantly grouped—had been criticised, and the hypothesis that all the rock engravings can be considered as a single archaeological event seems also to be contradicted by studies of superimpositions. We developed a GIS and a comprehensive database, with statistics, to identify specific spatial configurations, seriation effects and, finally, the evolution of the rock art. By going further in the periodization, our aim is to propose some provisional hypotheses about the meaning of Mont Bégo's rock engravings.

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Tychinina, Alyona. "Therapeutic Function of an Artistic Image: Poetics of Biblical Images Serhiy Zhadan." Pitannâ lìteraturoznavstva, no. 110 (December 31, 2024): 36–61. https://doi.org/10.31861/pytlit2024.110.036.

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This article delineates the specific therapeutic function of art in general and the artistic image in particular. Their therapeutic and compensatory potential is examined within philosophical and literary discourses. The discussion engages with Plato’s reflections on the educational and moral role of art and Aristotle’s theory concerning the cathartic effects of tragedy. Contributions from V. Maggi, S. Haupt, G. Lehnert, E. Zeller, E. Müller, and J. Bernays are considered. The study explores Friedrich Nietzsche’s notion of the receptive-compensatory function of art, particularly the reconciliation of Apollonian and Dionysian principles. Sigmund Freud’s concepts are interpreted in relation to the unconscious and the interaction between individuals and art during periods of epistemological crisis. Roman Ingarden’s perspective emphasises the therapeutic aim of literature when there is a corresponding receptive inquiry from the reader. Key ideas from reception aesthetics are foregrounded, highlighting art’s capacity to act as a medium of transcendence, influence the reader, and underpin the therapeutic effects of art and literature. Hans Robert Jauss’s concepts of the “horizon of expectations” and catharsis as a communicative dimension of aesthetic experience are revisited. Wolfgang Iser’s analysis of aesthetic experience in addressing gaps of indeterminacy is examined, alongside Umberto Eco’s insights on receptive indeterminacy as a defining feature of the “open work”, which catalyses co-creation by the recipient, stimulating imagination, fostering empathy, and providing intellectual therapy. The study also considers the therapeutic potential of sacred images during periods of radical epistemological shifts prompted by cataclysms, historical events, revolutions, or wars. Mircea Eliade’s framework of the “sacred-profane” dichotomy and the capacity of sacred images to function as points of transcendence, transcendent centres, or ontological anchors is discussed. Paul Ricoeur’s interpretation of the therapeutic influence of sacred motifs, images, and symbols on readers as they engage with existential questions is also addressed. Finally, the therapeutic role of biblical imagery – God, the Virgin Mary, Jesus Christ, Mary Magdalene, and the Apostle Thomas – is analysed through the lens of Serhiy Zhadan’s poetry collection “Life of Maria” (2015).

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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 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 formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.

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Morgan, Peggy. "SACRED ART AND ICONOGRAPHY B.A.H.R. 1988." Journal of Beliefs & Values 9, no. 2 (January 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 (January 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 (August 2014): 305–18. http://dx.doi.org/10.1017/s0940739114000150.

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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 (March 23, 2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

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Ammirati, Enrico, Alessandro Giammò, Alberto Manassero, and Roberto Carone. "Neuromodulation in urology, state of the art." Urologia Journal 86, no. 4 (August 1, 2019): 177–82. http://dx.doi.org/10.1177/0391560319866075.

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Sacral neuromodulation is an approved and validated treatment for overactive bladder syndrome, chronic non-obstructive retention, and chronic pelvic pain. Percutaneous tibial nerve stimulation is a less invasive approach of neuromodulation. We performed a literature research to assess the current evidence available about neuromodulation. Both techniques appear to be effective and safe third-line treatments. The overall success rate ranges from 43% to 85% for sacral neuromodulation and from 40% to 79.5% for percutaneous tibial nerve stimulation. Sacral neuromodulation has a higher incidence of complications in comparison to percutaneous tibial nerve stimulation, due to the more invasive surgical technique and the presence of a permanent implant. The incidence of surgical revision ranges between 9% and 33%. The most frequent complication with sacral neuromodulation is pain at implant site (15%–42%), followed by lead migration (4%–21%), pain at lead site (5.4%–19.1%), leg pain (18%), and infection (5.7%–6.1%). The quality of the studies on sacral neuromodulation and percutaneous tibial nerve stimulation in literature is quite modest, because of the shortage of good randomized clinical trial; most of the studies are prospective observational studies with mid-term follow-up.

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