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Journal articles on the topic 'Devotional objects in art'
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1
Loustau, Marc Roscoe. "Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry." Religions 12, no. 8 (July 27, 2021): 577. http://dx.doi.org/10.3390/rel12080577.
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I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Romania inform a national politics of Catholic materiality. Hungarian cultural institutions and intellectuals have been drawn to work with Catholic art because Catholic material culture sustains a meaningful presence across multiple scales of political contestation at the local, regional, and state levels. The movement of Catholic ritual objects into the zone of high art and cultural preservation necessitates that these objects be mobilized for use within the political agendas of state-embedded institutions. Yet, this mobilization is not total. Ironies, confusions, and contradictions continue to show up in Transylvanian Hungarians’ historical memory, destabilizing these political uses.
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Soares, Clara Moura. "Della Robbia’s Majolicas in Portugal Devotion, Collecting and Musealisation." Acta Historiae Artium 61, no. 1 (December 18, 2020): 69–80. http://dx.doi.org/10.1556/170.2020.00004.
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AbstractIn Portugal there is an important set of pieces from the Florentine workshop of the Della Robbia, composed of about a dozen objects. This article intends, through the combination of several primary sources, to analyse the path that these pieces conceived in the fifteenth and sixteenth centuries as devotional objects had in the nineteenth century in Portugal, framing them in the art market and in collecting phenomena. The contexts behind the incorporation of these objects into public collections, and their musealisation, will also be taken into account, as a determining factor in the history of the collections of the first Portuguese public museums.
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Houghteling, Sylvia. "Dyeing the Springtime: The Art and Poetry of Fleeting Textile Colors in Medieval and Early Modern South Asia." Religions 11, no. 12 (November 24, 2020): 627. http://dx.doi.org/10.3390/rel11120627.
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This paper explores the metaphorical and material significance of short-lived fabric dyes in medieval and early modern South Asian art, literature, and religious practice. It explores dyers’ manuals, paintings, textiles, and popular and devotional poetry to demonstrate how the existence of ephemeral dyes opened up possibilities for mutability that cannot be found within more stable, mineral pigments, set down on paper in painting. While the relationship between the image and the word in South Asian art is most often mutually enhancing, the relationship between words and color, and particularly between poetry and dye color, operates on a much more slippery basis. In the visual and literary arts of South Asia, dye colors offered textile artists and poets alike a palette of vibrant hues and a way to capture shifts in emotions and modes of devotion that retained a sense of impermanence. More broadly, these fragile, fleeting dye materials reaffirm the importance of tracing the local and regional histories even of objects, like textiles, that circulated globally.
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Collinet, Annabelle. "Performance Objects of Muḥarram in Iran: A Story through Steel." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 226–47. http://dx.doi.org/10.1163/26666286-12340010.
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Abstract Some Muḥarram ceremonies in Iran today, such as taziyeh (ritual theatre) and dasteh (procession), often involve metal artifacts. They are commonly made of steel (mainly armor elements, arms, sculptures, and vessels). Many objects of similar types, generally without any historical data on their original contexts, are preserved in Islamic art collections. The present research proposes to identify these objects as Muḥarram performance objects. Based on two large collections (Paris, Musée du Louvre and Musée des Arts Décoratifs), this article aims to relocate them in their likely ritual contexts, especially those developed in the late Qajar period (from 1850 onward), and to look further into the past of their Safavid (1501–1722) models. Made of forged steel and inlaid with precious metals, these productions from the late Safavid period to the present day suggest the durability of some models with a strong visual identity and highlight the recurring use of this metal in Shiʿa devotional art in Iran.
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Ricci, Chiara, Paola Buscaglia, Debora Angelici, Anna Piccirillo, Enrica Matteucci, Daniele Demonte, Valentina Tasso, et al. "A Technical Study of Chinese Buddhist Sculptures: First Insights into a Complex History of Transformation through Analysis of the Polychrome Decoration." Coatings 14, no. 3 (March 13, 2024): 344. http://dx.doi.org/10.3390/coatings14030344.
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Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023).
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Shandyba, Sergey V. "From Temple to Household Altar (Butsudan and Zushi in Japanese Culture)." Study of Religion, no. 3 (2019): 43–52. http://dx.doi.org/10.22250/2072-8662.2019.3.43-52.
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The article focuses on one of the most important Buddhist sacred objects of Japanese religion known as household altar (butsudan) as well as the miniature icon case (zushi) which has genetic relation with the latter. These objects are the most typical examples of religious art in Japan. Aside from their major religious significance in Japanese culture, various religious ideas and many skillful techniques were incorporated to them that transform them into wonderful works of art. The Buddhist family altar is one of the most peculiar objects that characterize Japanese religiosity. This paper examines some issues of the origin, development and existence of a Buddhist altar. It is the center of family worship and devotional activities in Japan, as an important communication tool between this world and the world of the afterlife; it also produces a sense of continuity between the generations, e.g. when people report to the ancestors events related to the living members of the family. In Japan, where religion is increasingly observed critically, religious practices centered on the Butsudan are one of the country’s most enduring social and religious traditions.
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Crack, Peter. "Westminster Abbey’s Quattrocento Altarpieces." Religion and the Arts 25, no. 3 (June 21, 2021): 263–95. http://dx.doi.org/10.1163/15685292-02503002.
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Abstract Between 1935 and 1948, three devotional paintings, all Italian and from the fifteenth century, were installed in London’s Westminster Abbey. While these pictures are individually well known to art historians, it has yet to be asked how and why they came to be displayed in the modern church. This paper reconstructs that history and interrogates the motivations of those involved. It also asks what liturgical functions, if any, were assigned to these erstwhile Roman Catholic objects in their adopted Anglican surroundings. The findings show that a confluence of antiquarian sensibilities, a specific vein of Anglicanism, and patronal motivations that recall the original commissioning of these works of art, all came to bear on what were remarkable episodes in the afterlives of these pictures and in the history of Westminster Abbey.
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Drpić, Ivan. "The Burdened Body: Byzantine Enkolpia and the Weight of the Sacred." Zeitschrift für Kunstgeschichte 86, no. 3 (September 1, 2023): 289–317. http://dx.doi.org/10.1515/zkg-2023-3002.
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Abstract Few products of human artistry seem as insistently concerned with self-representation as jewelry. In Georg Simmel’s classic formulation, articles of personal adornment work to enhance an individual’s social persona by magnifying their Ausstrahlung. While medieval Christian devotional jewels were well-equipped to operate in this manner, their true significance lay elsewhere. Objects such as pectoral crosses, reliquary rings, rosaries, and prayer nuts were designed not so much to mediate between self and society, but rather to stage and facilitate an encounter of the self with itself. Focusing on Byzantine devotional neck pendants, or enkolpia, this essay considers how religiously significant wearables participated in introspective spiritual practices aimed at forming and reforming the Christian subject. The essay, more specifically, attends to the enkolpion as an instrument of self-imposed discipline and explores how the corporeal experience of carrying this object and feeling its weight, however minimal, on the body contributed to the wearer’s cultivation of inner vigilance.
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Berezkin, Rostislav. "Illustrations of the Mulian Story and the Tradition of Narrative Painting in China (Tenth–Fifteenth Centuries)." Religion and the Arts 20, no. 1-2 (2016): 5–28. http://dx.doi.org/10.1163/15685292-02001002.
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The story of Mulian rescuing his mother’s soul from hell was featured in numerous pictorial versions of different formats in China. They could take the form of multi-scene handscrolls, illustrations in manuscripts and editions, and separate scenes in devotional religious art objects such as murals and reliefs. The Mulian subject was of primary importance in the popularization of Buddhist ideas among different layers of society. The earliest extant pictorial versions of this story in China (tenth century) were related to Buddhist storytelling with the use of visual devices. Illustrations appeared in several written versions of the Mulian story that were circulated among different layers of society in China in the twelfth through fifteenth centuries. These illustrated versions showed different degrees of elaboration, spread among common folk and the imperial courts of the Yuan and Ming dynasties. In this article I explore the functions of the narrative illustrations of the Mulian story in various social contexts. These functions were quite varied in case of most art objects analyzed here: pictures in woodblock editions and manuscripts augmented the textual part and also made them appealing to the lay readers.
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Rudy, Kathryn M. "Sewing as Authority in the Middle Ages." Zeitschrift für Medien- und Kulturforschung 6, no. 1 (2015): 117–32. http://dx.doi.org/10.28937/1000106435.
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Dieser Essay betrachtet mittelalterliches Nähen im Licht von Austins Sprechakttheorie. Indem er Manuskripte, Reliquien, Ablässe und sogar die Mitra eines Bischofs analysiert, argumentiert der Artikel, dass Nähen eine Weise war, den rituellen Gebrauch der Objekte einzusetzen oder zu intensivieren – ob es sich nun um zeremonielle, devotionale, oder autoritative Zwecke handelte. Während ein Sprechakt durch seine Äußerung agiert, handeln Nähstiche, indem sie sichtbare und oft feierliche Verbindungen zwischen Materialien schaffen, um Autorität zu steigern, zu verschönern, zu behaupten und zu schichten – oder um einen Gegenstand in Textilien zu hüllen, als handelte es sich um eine Reliquie. </br></br>This essay considers medieval sewing in light of Austin's speechact theory. Analysing manuscripts, relics, indulgences, and even a bishop's mitre, the article argues that stitching was a way to enact, or intensify, the ritual purpose of objects, whether that was ceremonial, devotional, or authoritative. Whereas a speech act functions by its utterance, stitches act by forming visible and often ceremonious attachments between materials in order to aggrandise, embellish, assert and layer author ity, or swathe an object in textiles as if it were a relic.
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Snow, Andrea C. "Dissimilar Similitudes: Devotional Objects in Late Medieval Europe, by Bynum, Caroline Walker." Religion and the Arts 25, no. 1-2 (March 24, 2021): 199–201. http://dx.doi.org/10.1163/15685292-02501008.
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Brusadin, Lia, and Maya Stanfield-Mazzi. "Representations of the Passion of Christ in Brazil: Devotional Sculpture as Open Artwork." Religions 13, no. 12 (November 23, 2022): 1138. http://dx.doi.org/10.3390/rel13121138.
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Sculpted representations of the Passion of Christ became widely used for popular religious devotion in Portuguese America. They comprise a variety of forms, since the Passion had so many episodes, and thus necessitated various bodily positions for Christ. In investigating the manufacture and trade of Latin American Baroque sculpture, it is possible to identify a market of whole-body carvings, items of dress, and loose body parts, such as heads, hands, feet, etc. This parts-based approach to sculpture, in effect, transformed them from “finished” works into “open” ones. The idea of an open artwork applies to objects that are not usually classified as art. This openness can be found in lifelike images that encourage the viewer to connect with them emotionally. In the case of images that show suffering, viewers respond with empathetic horror before the realistically proportioned and colored representations. The present study analyzes the idea of an open artwork by focusing on sculptural series of the Passion, especially scenes of the Agony in the Garden, that belong to Carmelite lay brotherhoods in São Paulo, Mogi das Cruzes, Itu, and Santos, cities in the state of São Paulo, Brazil. Images of the Passion existed in a constant process of transformation and, thus, openness, from their manner of construction to their uses in Holy Week rituals. By allowing viewers to interact with them on their own terms, we argue that devotional sculptures had far-reaching potential.
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Albertin, Fauzia, Matteo Bettuzzi, Rosa Brancaccio, Maria Pia Morigi, and Franco Casali. "X-Ray Computed Tomography In Situ: An Opportunity for Museums and Restoration Laboratories." Heritage 2, no. 3 (July 19, 2019): 2028–38. http://dx.doi.org/10.3390/heritage2030122.
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X-ray Computed Tomography (X-ray CT) is a sophisticated non-destructive imaging technique to investigate structures and materials of complex objects, and its application can answer many conservation and restoration questions. However, for Cultural Heritage investigations, medical CT scanners are not optimized for many case-studies: These instruments are designed for the human body, are not flexible and are difficult to use in situ. To overcome these limitations and to safely investigate works of art on site—in a restoration laboratory or in a museum—the X-ray Tomography Laboratory of the University of Bologna designed several CT systems. Here we present two of these facilities and the results of important measurement campaigns performed in situ. The first instrument, light and flexible, is designed to investigate medium-size objects with a resolution of a few tens of microns and was used for the CT analysis of several Japanese theater masks belonging to the collection of the “L. Pigorini” Museum (Rome). The second is designed to analyze larger objects, up to 200 cm and was used to investigate the collection of the so-called “Statue Vestite” (devotional dressed statues) of the Diocesan Museum of Massa.
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Stern, Karen B. "Opening Doors to Jewish Life in Syro-Mesopotamian Dura-Europos." Journal of Ancient Judaism 9, no. 2 (May 19, 2018): 178–200. http://dx.doi.org/10.30965/21967954-00902004.
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Analyses of the synagogue discovered in the ancient town of Dura Europos commonly emphasize connections between the construction and decoration of the building and aspects of Jewish life along the Roman eastern frontier. By focusing on lesser-known data from the synagogue, including burial deposits found inside its doorways, as well as examples of non-monumental writings and art (graffiti) from its interior, this article offers distinct insights into the cultural horizons of those who used and visited the structure. Closer consideration of the locations and contents of associated finds and their comparisons with analogues discovered in Dura and throughout the Syro-Mesopotamian world collectively advance new hypotheses about how visitors to the synagogue behaved inside its varied spaces and used acts of object-burial and writing to manipulate and reshape its walls, doorways, thresholds, and floors. The impetus to reconsider deposits of writing and objects from the Dura synagogue from this vantage, in its Syro-Mesopotamian context, owes to the recent publication of additional finds from other parts of the town. These augmented local comparisons for the synagogue evidence particularly reveal dynamic and otherwise unidentified continuities between devotional behaviors and spatial practices conducted by local and regional Jews and Christians, neighboring Durenes, and other inhabitants of Syrian, Mesopotamian, and Persian cities. These similarities, at times, can overshadow connections traditionally emphasized between daily life in Dura and the provincial world of Rome. Working outwards from the synagogue evidence, this approach ultimately demonstrates that many Durenes, whether Jews or their neighbors, engaged in daily devotional acts, in distinctive locations, which reflected, transformed, and responded to their local Syrian, Mesopotamian, and Arsacid cultural orbits.
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Katz, Dana. "Barbarism Begins at Home: Islamic Art on Display in Palermo's Museo Nazionale and Sicilian Ethnography at the 1891‐92 Esposizione Nazionale." International Journal of Islamic Architecture 9, no. 1 (March 1, 2020): 91–117. http://dx.doi.org/10.1386/ijia_00005_1.
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Abstract In the last quarter of the nineteenth century, Palermo's Museo Nazionale (National Museum) displayed one of the earliest institutional collections of Islamic art in Western Europe. The museum's director, Antonino Salinas, exhibited objects demonstrating the island's material heritage, including its two-and-a-half centuries of rule by North African dynasties during the medieval period. The prevailing perception elsewhere in post-unification Italy ‐ that Sicily was ungovernable and barbaric in nature ‐ heightened the display's significance. Another exhibition that many Italians would have perceived as representing the 'other' was the Mostra Etnografica Siciliana (Sicilian Ethnographic Exhibition), which the folklorist Giuseppe Pitrè created for the 1891‐92 Palermo Esposizione Nazionale (National Exposition). Highlighting Sicily's volatile image, the Italian press implicitly equated Pitrè's show with the so-called Abyssinian Village, which stood in the exposition fairgrounds and marked the establishment of Italy's first colony in Eritrea at a time of unprecedented imperial expansion. At the National Museum, Salinas remained undeterred, and despite associations of the island's conditions with Africa, he expanded its Islamic holdings. Likewise, Pitrè exhibited costumes, tools, and devotional objects that further accentuated regional differences at the National Exposition. In both displays, Salinas and Pitrè presented what they conceived as Sicily's unique cultural and historical patrimony.
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Scholten, Frits. "'A Thing of Beauty is a Joy Forever’." Rijksmuseum Bulletin 66, no. 3 (September 15, 2018): 254–69. http://dx.doi.org/10.52476/trb.9758.
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A somewhat neglected late fifteenth-century panel from the collection of the Amsterdam-Swiss surgeon and art collector Otto Lanz, which he cherished, is investigated here. This article argues persuasively that the panel is a devotional tabernacle, intended for private devotion, of a kind that often hung on the wall of a bedchamber in the late Middle Ages. The missing central image may have been a Virgin and Child or a Pietà. Lanz attributed the carving to the woodcarver Antonio di Neri Barili or Barile (1453-1516). Barile was the most important woodcarver in Siena, who worked for distinguished clients, among them the Piccolomini family, which was responsible for introducing the Roman all’antica style to Siena shortly after 1500. The tabernacle contains the family’s coat of arms and various motifs that correspond to documented work by Barili, and was carved in his characteristic crisp, open style. If this panel is indeed by Barili, it would be the smallest surviving object in its own right to come out of his workshop.
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Malhotra, Varun, Neera Goel, Usha Dhar, Rinku Garg, and Yogish Tripathi. "Comparison of Mind Control Techniques: An Assessment of Reaction Times." Bangladesh Journal of Medical Science 15, no. 4 (December 18, 2016): 596–600. http://dx.doi.org/10.3329/bjms.v15i4.30718.
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Background: Every activity requires a certain amount of concentration and no effective action may be performed without deep concentration. Businessman or artists or students in school must know the art of focusing all powers of attention on a single point in order to succeed in their respective vocation.Methods: We wanted to find the best technique to increase the concentration scientifically. We thus, endeavored to study and compare the reaction times in maneuvers of anuloma viloma pranayama, kapalbhatti pranayama, gayatri chanting and exercise. Reaction time test was taken online before anuloma viloma pranayama, kapalbhatti pranayama, gayatri chanting and exercise and compared after.Results: Reaction times decreased significantly and was least during gayatri mantra. Concentration as seen by a decrease in visual reaction time denotes first a withdrawal of attention from objects of distraction and then focusing all attention upon one thing at a time. Just 30 minutes of physical activity each day offers substantial benefits to your health.Conclusions: Pranayama or devotional music chanting also decreases fatigue keeps the mind alert, and active.Bangladesh Journal of Medical Science Vol.15(4) 2016 p.596-600
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Zhan, Zhenpeng. "Visualizing the Emperor’s Pantheon." Religion and the Arts 26, no. 4 (September 20, 2022): 429–64. http://dx.doi.org/10.1163/15685292-02604002.
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Abstract In the early 1740s, a set of carved lacquer containers were imperially commissioned in Suzhou to hold Daoist and Buddhist scriptures transcribed by the Qianlong emperor. Decorated with numerous deities in bas-relief, these understudied luxury objects shed new light on Buddhist and Daoist material cultures at the High Qing court and offer a glimpse of the imperial patron’s religious cosmology. Focusing on Qianlong’s two miniature pantheons and tracing the life history of objects in Qing palaces, this article explores the key role played by sacred images in elevating devotional objects of religious significance. As the most important offerings to Daoist and Buddhist deities, the lacquer boxes containing imperially transcribed scriptures were set on altars in different temples in the Forbidden City, even after Qianlong’s death. Characterized by rich religious symbolism, the Daoist and Buddhist icons designed for the containers embody visual efficacy that elevated the concealed scriptures and complemented the sacred spaces where they were enshrined.
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Jay, Martin. "Adorno and the Role of Sublimation in Artistic Creativity and Cultural Redemption." New German Critique 48, no. 2 (August 1, 2021): 63–84. http://dx.doi.org/10.1215/0094033x-8989246.
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Abstract Theodor W. Adorno resisted Sigmund Freud’s explanation of artistic creation as the sublimation of the artist’s libidinal drives. It focuses too much on the artist rather than the work and is in the service of accommodation to the status quo. But Adorno also questioned the simple reversal of Freud’s formula, pointing out the dangers of unmediated desublimation. The artist, he suggested, should sublimate his or her rage instead. No less significant was the retrospective cultural sublimation of objects from exhausted devotional or cultic contexts, which preserved the unfulfilled yearnings originally expressed in them.
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Chen, Holly. "Mediating the Foreign." Re:Locations - Journal of the Asia-Pacific World 3, no. 2 (March 27, 2020): 1–19. http://dx.doi.org/10.33137/relocations.v1i1.33508.
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In 1726, Dutch painter Willem van Royen’s painting: Birds and Flowers arrived in Japan as a gift from the Dutch East India Company to the Shogun Yoshimune. Subsequently, the painting was gifted to Gohyaku Rakanji, a Zen Obaku temple in Edo, where Japanese rangaku scholars: brothers Ishikawa Tairo and Moko and Tani Buncho encountered and copied the work. This article examines the translation in cultural meaning Van Royen’s painting underwent by analyzing transcultural remediations, or indigenous re-interpretations spawned by encounters with the work, and the persistence of the image due to its ability to be “visually trilingual,” that is, visually legible to three audiences: Dutch VOC merchants, Obaku worshippers, and Japanese scholars. Previous scholars have explored the meaning of the painting for Dutch and Japanese audiences, but I argue the devotional and hybrid cultural context of Rakanji as a Zen temple and the eclectic visual culture of the Edo period, in which viewers understood this object, is fundamental to a complete exploration of the painting’s reception. Since Edo natives considered the Obaku sect of Zen Buddhism an import from Ming-dynasty China, the image’s location surely impacted the viewer’s interpretation of the painting. Building on the pre-existing cross-cultural methodologies of visual bilingualism and transcultural mediation, Van Royen’s painting is a case study for how objects placed in culturally hybrid contexts may exhibit visual multilingualism. For works of art to translate in hybrid and foreign societies, these works must exhibit legibility to various groups and cultures which encounter it. Although most cross-cultural case studies focus on two cultures, expanding the purview of transcultural exchange from “bilingual” to “multilingual” allows for a more inclusive method to interpret cross-cultural, transnational, and hybrid works of art.
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De Caro, Antonio. "From the Altar to the Household. The Challenging Popularization of Christian Devotional Images, Objects, and Symbols in 16th and 17th Century China." Eikon / Imago 11 (March 1, 2022): 129–44. http://dx.doi.org/10.5209/eiko.77135.
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After the expeditions of wealthy merchants and Franciscan missionaries during the 14th century, the Chinese empire under Ming rule did not engage profusely with the European world, and vice versa. This period of artistic and intellectual silence and detachment was broken in the late 16th century when the Jesuit missionaries reconnected two worlds –Europe and China– reactivating previous medieval commercial, artistic, and intellectual routes. Silk –the product par excellence commercialized along the routes connecting China and Europe– was then accompanied by other precious products, including Chinese ceramics reaching various European courts and European paintings that reached the Ming court in Beijing. This paper addresses the complex and challenging popularization of Roman Catholicism through objects and images during the early modern era. In particular, it focuses on the diffusion of devotional images and objects used by Roman Catholic missionaries and the religious practices related to them.
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WALLEY, AKIKO. "The Power of Concealment: Tōdaiji Objects and the Effects of Their Burial in an Early Japanese Devotional Context." Journal of Asian Humanities at Kyushu University 7 (March 2022): 23–46. http://dx.doi.org/10.5109/4843127.
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Sharma, Swati, and Ranjan Kumar Mallik. "The Utilization of Waste Material in Visual Arts: Relevance and Aesthetic Appeal." ECS Transactions 107, no. 1 (April 24, 2022): 10199–208. http://dx.doi.org/10.1149/10701.10199ecst.
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The Waste management is a gigantic yet the most cluttered sector in India. The general objects like newspapers, iron, bottles etc., can be recycled and are familiar to people but there are more objects that can be recycled but because of lack of knowledge they are thrown into garbage. The discarded waste specially the ones that are extremely dangerous for the biodiversity need urgent attention by everybody around, a pressing priority. A handful of artists are turning the waste into a sustainable art and has limitless reach. Their basic approach is relating to an impregnable devotion concerning the planet Earth. First- artists may be inspired to create works from scrap items encountered by chance and second-the study involves two stages and former talks about the use of discarded material in public art .
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Pereira, Diana. "Healing Touch: Clothed Images of the Virgin in Early Modern Portugal." Ikonotheka, no. 29 (September 16, 2020): 51–78. http://dx.doi.org/10.31338/2657-6015ik.29.7.
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Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental catalogue of Marian shrines and pilgrimage sites, this source offers a unique insight into the religious experience and the reciprocal relationship between image and devotee in Early Modern Portugal, and is a particularly rich source when describing the believers’ pursuit of physical contact with sculptures. This yearning for proximity is partly explained by the belief in the healing power of Marian sculptures, which in turn seemed to be conveniently transferred to a myriad of objects. When contact with the images themselves was not possible, devotees sought out their clothes, crowns, rosary beads, metric relics, and so forth. Items of clothing such as mantles and veils were particularly used and so it seems obvious they were not mere adornments or donations, but also mediums and extensions of the sculptures’ presence and power. By focusing on the thaumaturgic role of the statues’ clothes and jewels, I will argue how the practice of dressing sculptures was due to much more than stylistic desires or processional needs and draw attention to the many ways believers engaged with religious art in Early Modern Portugal.
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Wilson, Andrew P. "“Beholding the Man”: Viewing (or is it Marking?) John’s Trial Scene alongside Kitsch Art." Biblical Interpretation 24, no. 2 (April 18, 2016): 245–64. http://dx.doi.org/10.1163/15685152-00242p06.
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One of the grand scenes of the Passion narratives can be found in John’s Gospel where Pilate, presenting Jesus to the people, proclaims “Behold the man”: “Ecce Homo.” But what exactly does Pilate mean when he asks the reader to “Behold”? This paper takes as its point of departure a roughly drawn picture of Jesus in the “Ecce Homo” tradition and explores the relationship of this picture to its referent in John’s Gospel, via its capacity as kitsch devotional art. Contemporary scholarship on kitsch focuses on what kitsch does, or how it functions, rather than assessing what it is. From this perspective, when “beholding” is understood not for what it reveals but for what it does, John’s scene takes on a very different significance. It becomes a scene that breaks down traditional divisions between big and small stories, subject and object as well as text and context. A kitsch perspective opens up possibilities for locating John’s narrative in unexpected places and experiences. Rather than being a two-dimensional departure from the grandeur of John’s trial scene, kitsch “art” actually provides a lens through which the themes and dynamics of the narrative can be re-viewed with an expansiveness somewhat lacking from more traditional commentary.
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Del Barrio Luna, Alejandra. "The criterion of "polychrome correspondence" as a primary source for art history. The Virgin of the Rosary from Santibáñez de la Sierra, Salamanca." Norba. Revista de Arte, no. 43 (January 11, 2024): 233–59. http://dx.doi.org/10.17398/2660-714x.43.233.
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The Virgin of the Rosary of Santibañez of the mountain range of Salamanca is a devotional sculpture with historical interest in the cultural evolution of the village. With a Ghotic origin, it was modified substantially in Hispano-Flemish style and modified later to Baroque style during the XVIIth and XVIIIth centuries. The artistic study of the sculp-ture has been based on scientific analysis prior to the restoration because the work is un-derstood as an integral continuum to ensure the best interpretation and conservation of the piece. The restoration of the work has taken into account the materiality of the object, as a primary source for history and art, and the immaterial value, an aspect that is not usually considered and which is the starting point for the application of the criterion of correspondence of polychromes for the conservation of their religious value.
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Afriandi, Afriandi, Elizar Elizar, and Rafiloza Rafiloza. "Khidmat Dabuih Nagari Situjuah Gadang Kecamatan Situjuah Limo Nagari." Jurnal Musik Etnik Nusantara 3, no. 2 (December 1, 2023): 142. http://dx.doi.org/10.26887/jmen.v3i2.4064.
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Dabuih is a performance art that is Islamic religious in nature where in this art it shows the attraction of the body's immunity from various objects that can injure. As an art form with Islamic nuances, debuih performances are of course related to religious values. These religious values can be identified from several things, including the use of remembrance and recitation of several verses of the Koran. In this work of composition "KHIDMAT" which originates from the art of Dabuih Situjuah, it is divided into three parts. The first part focuses on dikia's vocal work, part two is composed by rabano and part 3 is a combination of vocals and rabano. In the form of a performance of the composition "KHIDMAT" a deep devotion and inspiration becomes a work achievement so that it can be realized.
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Bodart, Diane H. "Wearing images. Introduction = Imágenes portadas. Introducción." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 15. http://dx.doi.org/10.5944/etfvii.6.2018.23087.
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In the past decades, studies on the materiality and the efficacy of images, as well as the artistic and social practices related to them, have allowed scholars to explore how much images’ making, use, handling and display contributed to the activation of their powers of presence through their interaction with the viewer. Further, the growing interest in the articulation between the history of art and the anthropology of images has brought to light the close links between the art object and the body: in fact, if the body can be the medium of the animate art object, the art object can potentially act as a substitute of the animate body. But what happens when the body is the support of a distinctive image, when it inscribes an image on its own surface, whether directly on the skin or through intermediary props such as clothing or corporeal parure? Wearing Images investigates the different modes of interaction between the image and the body that wears it in the Early-Modern period, when devotional, political, dynastic or familial images could be worn as medals, jewels, badges, embroidered garments or tattoos.En las últimas décadas, los estudios sobre la materialidad y la eficacia de las imágenes, así como de las prácticas artísticas y sociales asociadas a ellas, han permitido a los historiadores explorar hasta qué punto la fabricación de las imágenes, su uso, manejo y exhibición contribuyó a activar sus capacidades de presentarse a través de su interacción con el espectador. Además, el creciente diálogo entre la historia del arte y la antropología de las imágenes ha puesto de relieve las estrechas conexiones entre el objeto artístico y el cuerpo: en efecto, si el cuerpo puede ser el medio para el objeto artístico animado, el objeto artístico puede actuar potencialmente como sustituto del cuerpo animado. Pero ¿qué ocurre cuando el cuerpo es el soporte de una imagen distintiva, cuando inscribe una imagen en su propia superficie, ya sea directamente en la piel o a través de intermediarios como el vestido o un adorno? Wearin Images investiga las diferentes modalidades de interacción entre la imagen y el cuerpo que se viste con ella en la Edad moderna, en una época en la que imágenes devocionales, políticas, dinásticas o familiares podían vestirse como medallas, joyas, placas, prendas bordadas o tatuajes.
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Calvi, Giulia. "Maddalena Nerli and Cosimo Tornabuoni: A Couple's Narrative of Family History in Early Modern Florence." Renaissance Quarterly 45, no. 2 (1992): 312–39. http://dx.doi.org/10.2307/2862751.
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Trying to trace seventeenth-century Florentine family memoirs, I came upon a manuscript journal entirely written by a woman. Its frontispiece bore a date, 1623, and a heading: “In the name of God, the glorious Virgin Mary and all the saints of the Heavenly Court of Paradise, this book is the journal of signora Maddalena Nerli Tornabuoni, and in it she will keep a record of all her daily accounts starting from this very day in March 1623.“As the title specified, it was mainly an account book that covered twenty years of Maddalena's widowed life up to her death in 1641. Going carefully through its pages made me begin to perceive the boundaries of a domestic world organized and governed by a middle-aged urban patrician woman. It shed light on the social world she lived in, one of children, servants, close relatives, and sharecroppers; on the concrete material objects she was surrounded by—linens, foodstuffs, furniture, clothes, devotional items; and on the physical space she occupied—city and country homes, the district of S. Maria Novella and S. Giovanni in Florence.
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Wardropper, Ian, and Priscilla Muller. "Devotional Objects." Art Institute of Chicago Museum Studies 25, no. 2 (2000): 79. http://dx.doi.org/10.2307/4113066.
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RODRÍGUEZ, Gerardo Fabián, and Lidia Raquel MIRANDA. "Los exvotos en textos hispánicos de los siglos XIII al XVI: piedras y minerales como objetos de un sensorium devocional." Medievalismo, no. 33 (December 27, 2023): 225–60. http://dx.doi.org/10.6018/medievalismo.597621.
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The paper analyses the role that mineral objects and stones, described in medieval sources as votive offerings, play in the construction of a significant world. To do this, it evaluates the relationship that they establish, in the miraculous context, with the devotees, which configures them in a rank of entity equivalent or superior to that of the properly human due to the purpose and the way in which each actant uses them, and especially by the sensory aspect that defines such contacts allowing us to recognize specific characteristics of a sensorium that we qualify as devotional. El artículo analiza el papel que los objetos minerales y las piedras, descriptos en las fuentes medievales con valor de exvotos, desempeñan en la construcción de un mundo significante. Para ello evalúa la relación que establecen, en el contexto milagroso, con los devotos, la que los configura en un rango de entidad equivalente o superior al propiamente humano por la finalidad y la forma en que cada actante se vale de ellos, y en especial por el cariz sensorial que define a tales contactos, lo cual nos permite reconocer características específicas de un sensorium que calificamos como devocional.
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Stanford, Charlotte A. "Beyond Words: New Research on Manuscripts in Boston Collections, ed. Jeffrey F. Hamburger, Lisa Fagin Davis, Anne-Marie Eze, Nancy Netzer, and William P. Stoneman. Text, Image, Context: Studies in Medieval Manuscript Illumination, 8. Toronto: Pontifical Institute of Mediaeval Studies, 2021, 361 pp, 291 col. Ill." Mediaevistik 34, no. 1 (January 1, 2021): 274–76. http://dx.doi.org/10.3726/med.2021.01.20.
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This study stems from an exhibition/ conference of the same name, “Beyond Words,” presented in Boston in 2006; however, it goes well beyond the bounds of a conventional exhibition catalog, which was produced at the time to accompany the objects on display. The volume produced here expands these initial parameters to consider additional questions about the manuscripts held in these Boston collections, notably Houghton Library at Harvard University, McMullen Museum of Art at Boston College, and the Isabella Stewart Gardner Museum of Boston. The book is divided into four major sections, devoted respectively to monastic manuscripts (3 essays), courtly culture and patronage (5 essays), princes, patricians, prelates and pontiffs (4 essays), and illuminating history (3 essays) with a coda on manuscripts in the modern era provided by the final essay. As the editors remark in their introduction, the emphasis is Christian and central European; this is due in part to the collection parameters themselves (the above institutions have no Ethiopian or Hebrew manuscripts, for example) and in part by limitations of time and focus (there are a number of Islamic manuscripts in the Boston collections which have not been included here but would be well worth exploring in a separate study of their own). The richness and depth of the sixteen essays here offer insights into many aspects of the late medieval world. The chapter by Patricia Stirnemann on Gilbert de la Porrée traces book collection of the works of a single, theologically problematic author, and offers a valuable case study on the transmission of writings by a scholar charged (though exonerated) with heresy. Brigitte Miriam Bedos-Rezak demonstrates how the charters of the abbey of Sawley preserved in the Houghton library allow us to consider the “medial role” of document writing, and how this practice assisted an English Cistercian monastery to shape its own representation with its neighbors by crafting records of land ownership disputes. Kathryn M. Rudy examines manuscript workshops among nuns in Delft in the fifteenth century, providing a vivid model of book production practices in these devotional contexts.
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Noreen, Kirstin. ":The Idol in the Age of Art: Objects, Devotions and the Early Modern World. St. Andrews Studies in Reformation History." Sixteenth Century Journal 41, no. 3 (September 1, 2010): 818–19. http://dx.doi.org/10.1086/scj40997361.
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Sciorra, Joseph. "“The Strange Artistic Genius of This People”: The Ephemeral Art and Impermanent Architecture of Italian Immigrant Catholic Feste." Buildings & Landscapes: Journal of the Vernacular Architecture Forum 30, no. 1-2 (September 2023): 4–35. http://dx.doi.org/10.1353/bdl.2023.a911882.
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abstract: During the late nineteenth and early twentieth centuries, Italian working-class immigrants in the United States staged religious feste (street feasts) in honor of the Madonna and other Catholic saints to express their beliefs in a socially acceptable, aesthetically pleasing, and recognizable manner. Impermanent edifices and other ephemeral constructions were integral parts of these cultural-religious extravaganzas. Hanging decorative illuminations, elaborate sidewalk altars, freestanding multistoried chapels, and various ambulatory structures were architectural wonders that boldly transformed, sacralized, and claimed American urban landscapes. A vernacular baroque aesthetic permeated the occupation and sacralization of the streets that engendered hallowed and convivial topographies that would have lasting ramifications for how people imagined their lives and neighborhoods. This article examines how these transient objects of devotion, predominantly in East Coast cities, enacted and proclaimed a diasporic community of believers that challenged hegemonic notions of artistry, religion, the built environment, and the public sphere. Ephemeral festival architecture captivated the attention of outsiders, including photographers, journalists, and visual artists, who depicted them in words and imagery. The article also contextualizes this source material as part of the Progressive era’s xenophobic climate and, in particular, the picturesque gaze that racialized and othered Italian immigrants.
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Gaifman, Milette. "Visualized rituals and dedicatory inscriptions on votive offerings to the nymphs." Opuscula. Annual of the Swedish Institutes at Athens and Rome 1 (November 2008): 85–103. http://dx.doi.org/10.30549/opathrom-01-07.
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This article explores the religious meaning of Archaic and Classical dedications with images of rituals (e.g. sacrificial procession, libation) and dedicatory inscriptions. I argue that these objects ought to be treated as meaningful expressions of individuals’ piety rather than as reflections of actual cult practices. I adopt a holistic approach that considers the two components of dedications—images and texts—as inextricably intertwined in the creation of meaning. The argument is exemplified through the examination of dedications to the Nymphs: the so-called Pitsá tablet, Archandros’ relief from the Athenian Asklepieion, and two reliefs from a cave at Penteli. The detailed analysis of images, inscriptions, and their juxtaposition reveals how these dedications made the devotion of named individuals perpetual at a specific site, and shaped the manner in which the sacred was to be envisioned. Art and text together marked the site of deposition as a place of worship of the Nymphs, articulated specific ideas regarding rituals, the nature of the goddesses and their companions Pan and Hermes, and the possibilities for human interaction with these divinities. In rendering individual devotion continuous, these dedications confirmed the inexistence of such visualized rituals in reality. They elided and asserted the divide between the real and the imaginary in Greek religion.
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Lin, Wei-Cheng. "Caroline Walker Bynum, Dissimilar Similitudes: Devotional Objects in Late Medieval Europe. New York: Zone Books, 2020. Pp. 343; black-and-white figures. $32.95. ISBN: 978-1-9421-3037-6." Speculum 97, no. 3 (July 1, 2022): 802–4. http://dx.doi.org/10.1086/720530.
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Olishevska, Yulia A. "Murals as the newest tourist resources: the case of Kyiv." Journal of Geology, Geography and Geoecology 29, no. 2 (July 8, 2020): 364–76. http://dx.doi.org/10.15421/112032.
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The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under the influence of street art. In the process of researching the murals as a tourist resources of cities, we have introduced the term “conceptual tourist resources”, which in our opinion most accurately reflects their semantic charge. Murals are the alternative resources towards traditional tourism resources (natural, historical, cultural, socio-economical or socio-historical) that are widely used in the classifications of leading researchers in the tourism industry (Kvartal’nov V., Smal’ I., Beidyk O., Mal’s’ka M., Kuzyk S., Liubitseva O., Pankova Ye., Stafiichuk V., etc.). The study identified the 32 biggest murals in Kyiv and found that the murals are the relevant forms of street art that focuses on social, cultural, and historical topics. Mural paintings have been found to be motivating objects to visit and affect the formation of city’s new symbols. In the route we have developed, we have selected 24 representative murals made in different styles, dedicated to several topics: milestones of Ukrainian history, the fight between good and evil, friendship and devotion, freedom and equality. Thus, the involvement of murals in excursion routes allows residents and guests of the capital city to track the change in the image of the urban environment under the influence of street art. In the course of the study, it was found that murals are ambiguously perceived in society. The analysis showed that the appearance of modern murals on the streets of the capital began in the mid-2000s, a sharp increase in their number occurred during 2015 - 2017. It was determined that the main factors that influenced the development of muralism in Ukraine were the demands of society and the organization of art festivals, including Muralissimo, City Art, Dynamic Urban Culture Kyiv, Mural Social Club, Art United Us, Mural Social Club Back to school! Ukraine, French Spring, etc. The largest art festivals include City Art 2015, Dynamic Urban Culture Kyiv 2015, Mural Social Club 2016, 2017, Art United Us 2016, 2017, within which 88 works were created. The results of the study identified the trend in the development of muralism in Ukraine, which consists of the gradual change from spontaneous, anonymous street art to the development of concerted and commissioned by state bodies paintings, which are spread not only on the walls of industrial sites, residential buildings, but also on the walls of educational institutions, government institutions and the police department. Kyiv is the first city in the world where a mural was created on the walls of the police department. The study found that since the mid-2010, the murals began to establish in the central part of the city, and since 2014 they have spread to the so-called “gray” residential areas of Sviatoshyno, Darnytskyi, Desnyanskiy and Solomianskyi districts and Obolon’, etc. Today, the total number of murals in the capital is 160.
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Jones, Pamela M. "The Reception of Christian Devotional Art." Art Journal 57, no. 1 (March 1998): 2–4. http://dx.doi.org/10.1080/00043249.1998.10791863.
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Montagnolo, Irene, Marco Bacci, Laura Baratin, Giovanni Checcucci, and Maria Rita Ciardi. "Aesthetical presentation of a devotional artwork. Issues and possible virtual solutions." Ge-conservacion 18, no. 1 (December 10, 2020): 307–12. http://dx.doi.org/10.37558/gec.v18i1.850.
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In this contribution, the accent is focused on the complexities and possible solutions faced by a restorer during the phase of aesthetical presentation of devotional artworks. For this kind of artefacts is not often possible to apply the logic of conservative restauration (Zanardi 2009), which requires a minimum intervention. The devotional aspect is an added value protected by a number of symbolic codes (Argenton 2017) understood by the religious community, for which the artifact was intended. The work was also analysed through a series of interviews with various figures related to the devotional and liturgical artwork: the restorer, the art historian art and the religious community as user of the art work.
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Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.
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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.
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Taylor, Paul Michael, and Saeed Husain. "Numismatic Narratives: Sovereignty, Identity, and Devotion in the Parvinder S. Khanuja Collection of Sikh Coins." Sikh Research Journal 8, no. 1 (April 13, 2023): 23–34. http://dx.doi.org/10.62307/srj.v8i1.21.
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This paper is a case study of the role of coin collecting in the Sikh diaspora in the United States, with comparative references to broader sources on Sikh and non-Sikh coin and medal (i.e., numismatic) collecting beyond this one collector and collection. Here we briefly survey the collection of Sikh coins assembled (within a much larger collection of Sikh and Punjabi art and heritage) by Dr. Parvinder S. Khanuja, examining the collector’s criteria used to select coins as a preferred or important collectible, and also the criteria used to ascribe value to particular coins based on their characteristics (original mint or place of manufacture, age or date of manufacture, materials of manufacture, and physical condition), as well as their prior line of ownership (i.e. their “biographies” as objects). We also survey current literature on Sikh coin collecting in comparison with the broader collecting and study of numismatics, looking for generalizations about Sikh vs. non-Sikh coin collecting and how value is ascribed to coins. We find that the importance of coin collecting for Dr. Khanuja, and in the literature on Sikh numismatics, is closely tied to the concept of former Sikh sovereignty or political control that (in the past) made an autonomous coinage possible. This paper illustrates some exemplary coins that Dr. Khanuja and his family highly prize, documenting the importance ascribed to sovereignty, identity, and devotion. The significance ascribed to coinage as a symbol of sovereignty, the relevance of his collecting to the collector’s strong Sikh identity, and the fact that collecting may be an expression of Sikh religious devotion, all seem to constitute motivations for the formation of this collection. Based on references to such concepts in Sikh numismatic literature, these motivations seem very likely to be characteristic of a broader Sikh collecting tradition rather than an idiosyncratic one used only by this collector.
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Freitag, Sandria. "Book Review: Muslim Devotional Art in India." Indian Economic & Social History Review 50, no. 4 (October 2013): 528–30. http://dx.doi.org/10.1177/0019464613503248.
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Hamaya, Mariko. "Feminisation of Ascetic Celibacy in Haridwar." South Asia Research 39, no. 3_suppl (September 2, 2019): 26S—41S. http://dx.doi.org/10.1177/0262728019872051.
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Case studies of male–female ascetic couples in Haridwar in North India complicate the widespread knowledge that male Hindu renouncers are supposed to observe celibacy. Based on extended ethnographic work, this article investigates specifically how female ascetics tackle the dominant androcentric discourses and practise celibacy from a female point of view, focussing on their practice of sevā or spiritual service. The article argues that while female ascetics do not object to the androcentric ideology of celibacy, they follow it only partly, switching their focus from sexual abstinence to devotional sevā. Doing this, female ascetics value controlling emotion more than controlling sexual desire. Through the practice of sevā, they aim for fostering an attitude of devotion as a feminised manifestation of their efforts towards reaching spiritual attainment.
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Meri, Josef W. "Aspects of Baraka (Blessings) and Ritual Devotion Among Medieval Muslims and Jews1." Medieval Encounters 5, no. 1 (1999): 46–69. http://dx.doi.org/10.1163/157006799x00259.
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AbstractBaraka (lit. blessing) lay at the foundation of Muslim and Jewish conceptions and perceptions of the sacred. Medieval devotees sought the baraka of prophets, saints and devotional objects. This study considers the physical and devotional setting for the transmission of baraka and the ritual acts devotees performed in order to acquire it.
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Benner, Gabriela. "A la luz de un candelabro: el exvoto judío de la Fiesta de la Dedicación." CEM, no. 14 (2022): 75–88. http://dx.doi.org/10.21747/2182-1097/14a4.
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In Judaism, the sun, moon and stars are observed to determine the date of the seasons and festivals or devotional times. In the Hebrew calendar, the beginning of a new day is marked at sunset and when the first stars of the night appear. Among the objects that mark dates expressing the joy of memorable times are the Hanukkah candlesticks, objects of devotion and piety, indispensable for the Festival of Lights and commemorating the rededication of the second Temple in Jerusalem. In this study we present several devotional candelabra and identify their relationship to the Hebrew ritual and present them as Jewish ex-votos.
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Bhakal, Atmaram. "Muslim devotional art in India, by Yousuf Saeed." South Asian History and Culture 4, no. 1 (January 2013): 153–55. http://dx.doi.org/10.1080/19472498.2012.750467.
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Hatton, Nikolina. "“My Soul, Why Art Thou Full of Trouble”: Hester Pulter’s Apostrophe to the Soul." Poetica 54, no. 3-4 (February 2, 2024): 282–300. http://dx.doi.org/10.30965/25890530-05434003.
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Abstract The poems of Hester Pulter (1605–1678) provide insight into the religion and politics of a woman writing through the English Civil Wars and Republic. This paper focuses on Pulter’s use of the apostrophe to the soul and on her abstention from employing disciplinary metaphors that so often characterise devotional poetry. In merging the devotional apostrophe to the soul with complaint, Pulter effectively jettisons the penitential aspects of these approaches, creating a hybrid form in which her body provides comfort to her grieving soul. Pulter thus creates a form of devotional poem that relies on an aesthetics of comfort instead of discipline. By utilising the affordances of the apostrophe – its ability to bring the speaker and its addressee into a relation with one another – Pulter enacts a spiritual unification and in so doing makes implicit claims about the emotional and spiritual efficacy of poetry.
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Michalik, Jakub, and Filip Nalaskowski. "Holy Medals with Secondary Holes as Examples of the Recycling of Historical Devotional Objects." Analecta Archaeologica Ressoviensia 17 (2022): 101–8. http://dx.doi.org/10.15584/anarres.2022.17.9.
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Holy medals belong to a group of historical artefacts known as devotional objects and they appear in this category beside crosses, scapulars or prayer beads. They are regarded as miniature forms of large medals and are seldom made of noble metals, but rather corrosion resistant alloys. Medals occur the most often in an oval form, with a separated loop for hanging, but there are also circular, rectangular or octagonal forms. The work below is an attempt to study a special form of medals – perforated secondarily – as a historical form of recycling. Such a treatment led them to be regarded as retrieved objects, retaining their original function. Studying the manufacturing features of these objects allows us to distinguish between original and secondary perforations. The latter were made when the original eye was broken or lost. The intentions of persons who decided to recycle devotional objects for material, spiritual or mystic reasons are an important part of this paper. The article is based on studies of artefacts obtained during archaeological excavations at sites in Gniew in Pomerania (Poland) and Dubno in Volhynia (Ukraine).
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Caseau, B蠴rice. "ORDINARY OBJECTS IN CHRISTIAN HEALING SANCTUARIES." Late Antique Archaeology 5, no. 1 (2009): 625–54. http://dx.doi.org/10.1163/22134522-90000124.
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The evidence from miracle stories and from archaeology is used in this paper to document the appearance and contents of the healing shrines of Late Antiquity; particularly the prosaic objects of everyday life that would have been present at a shrine alongside liturgical and devotional objects. It explores the evidence relating to the everyday lives of those staying at the shrine, and shows how even the most ordinary object could be sanctified by its presence in a healing sanctuary.