Journal articles: 'Iconographic studies'

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Luka, Oksana Victoria. "On Western Ukrainian Iconographic Practice." Studies in World Christianity 17, no. 2 (August 2011): 119–36. http://dx.doi.org/10.3366/swc.2011.0016.

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Standard works on the theology of icons and histories of Byzantine art usually present us with well-known and prominent examples of Byzantine iconography. Often overlooked, however, are the many and various traditions of iconography that have flourished in small and distant regions. These little-known local iconographic traditions, however, have great value. The aim of this paper is to present reflections on the importance of local iconography in the life of faith of Eastern Christian communities by drawing attention to the unique iconographic tradition developed in Western Ukraine. Emphasis is given to the development of local iconographic traditions, the use of icons in communal and private religious practice, and the challenges encountered by contemporary efforts to revive local iconography.

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Salvador-González, José María. "The Iconographic Type of the Coronation of the Virgin in the Renaissance Italian Painting in the Light of the Medieval Theology." Religions 13, no. 12 (November 24, 2022): 1145. http://dx.doi.org/10.3390/rel13121145.

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This article highlights the artistic and conceptual relevance of the iconographic type of the Coronation of Mary in Italy during the Late Middle Ages and Early Modernity. We have analyzed 14 Italian Renaissance paintings, aiming to discover the possible doctrinal sources that inspire them. From a conceptual perspective, we have specified that the iconography of The Coronation of the Virgin in Italy is directly inspired by the comments of some Church Fathers and medieval theologians and hymnographers. From the formal perspective, we discover that three different iconographyc types complement each other as progressively more complex variants of a similar basic structure.

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Pinciroli Vago, Nicolò Oreste Pinciroli, Federico Milani, Piero Fraternali, and Ricardo da Silva Torres. "Comparing CAM Algorithms for the Identification of Salient Image Features in Iconography Artwork Analysis." Journal of Imaging 7, no. 7 (June 29, 2021): 106. http://dx.doi.org/10.3390/jimaging7070106.

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Iconography studies the visual content of artworks by considering the themes portrayed in them and their representation. Computer Vision has been used to identify iconographic subjects in paintings and Convolutional Neural Networks enabled the effective classification of characters in Christian art paintings. However, it still has to be demonstrated if the classification results obtained by CNNs rely on the same iconographic properties that human experts exploit when studying iconography and if the architecture of a classifier trained on whole artwork images can be exploited to support the much harder task of object detection. A suitable approach for exposing the process of classification by neural models relies on Class Activation Maps, which emphasize the areas of an image contributing the most to the classification. This work compares state-of-the-art algorithms (CAM, Grad-CAM, Grad-CAM++, and Smooth Grad-CAM++) in terms of their capacity of identifying the iconographic attributes that determine the classification of characters in Christian art paintings. Quantitative and qualitative analyses show that Grad-CAM, Grad-CAM++, and Smooth Grad-CAM++ have similar performances while CAM has lower efficacy. Smooth Grad-CAM++ isolates multiple disconnected image regions that identify small iconographic symbols well. Grad-CAM produces wider and more contiguous areas that cover large iconographic symbols better. The salient image areas computed by the CAM algorithms have been used to estimate object-level bounding boxes and a quantitative analysis shows that the boxes estimated with Grad-CAM reach 55% average IoU, 61% GT-known localization and 31% mAP. The obtained results are a step towards the computer-aided study of the variations of iconographic elements positioning and mutual relations in artworks and open the way to the automatic creation of bounding boxes for training detectors of iconographic symbols in Christian art images.

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MUNTEAN, Marcel Gheorghe. "Last Judgment in iconography.Case studies." Arta 31, no. 1 (September 2022): 15–22. http://dx.doi.org/10.52603/arta.2022.31-1.02.

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The present study proposes a research on the iconography of the Last Judgment, starting from the 5th and 6th centuries up to the 14th century, when the compositional structure had already been established. These early scenes correspond to a symbolic vision whose character and perspective are both eschatological. The theological elements set forth demonstrate the fact that the iconographic scenes have a biblical foundation that is both necessary and included in their thematic typology. We have analyzed case studies both from Eastern Europe and from the West; they testify to the fact that certain iconographic details had been embraced until a complex compositional structure was shaped. The proposed examples have been executed in different techniques, throughout different eras, and across different geographical areas. Among these techniques, we note mosaics, bas-reliefs, frescoes, illustrated manuscripts, and icons. Our case studies include the miniature from Paris and the one from the British Library in London, as well as the mosaic from Torcello and the icon from Sinai. The depictions of the Judgment contain significant scenes and registries, such as: Jesus in the Almond Tree, the scene of the Deisis and the Twelve Apostles, the throne of Etimasia, the river of fire, the righteous and the sinners, Heaven and Hell, as well as the weighing of souls.

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John H. Oakley. "Greek Children: Three New Iconographic Studies." American Journal of Archaeology 118, no. 4 (2014): 677. http://dx.doi.org/10.3764/aja.118.4.0677.

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Eskandari, Nasir, Mojgan Shafiee, Ali Akbar Mesgar, Federico Zorzi, and Massimo Vidale. "A Copper Statuette from South-Eastern Iran (3rd Millennium B.C.)." Iran and the Caucasus 26, no. 1 (March 17, 2022): 17–31. http://dx.doi.org/10.1163/1573384x-20220102.

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We present a copper alloy statuette confiscated by the Iranian security forces in the surroundings of Jiroft (Kerman, Iran) with other artifacts of the 3rd millennium B.C. Its iconography is discussed with synthetic reviews of selected snake-related iconographic themes in coeval ancient Mesopotamia, Iran, and southern Central Asia. Two micro-fragments, analyzed by ESEM, revealed the alloy and an unusual decorative treatment of its surface. The statuette hints at an important mythological or religious identity so far unknown.

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Monzón Pertejo, Elena. "The Transit of Mary Magdalene’s Soul in Catalan Artistic Production in the 15th Century." Religions 12, no. 11 (November 16, 2021): 1009. http://dx.doi.org/10.3390/rel12111009.

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There are a great many studies on the figure of Mary Magdalene in different areas of knowledge. Nevertheless, there is a gap as regards the image of this character in Catalonia, and specifically regarding the visual representation of her soul at the moment when she died. This text aims to analyze this matter based on two Catalan altarpieces: the Altarpiece of Saint Mary Magdalene from Perella (Bernat Martorell, 1437–1453) and The Death of Mary Magdalene (Jaume Huguet, 1465–1480). The analysis has been carried out based on the postulates from the tradition of studies on iconography and iconology: the relationships between image and text, the history of the iconographic types and the magnetic power of images. The basic hypothesis is that the representation of Mary Magdalene’s soul in the 15th Century in Catalonia is visually borrowed from the iconographic type of the Dormition of the Mother of God. To test this, comparative analyses have been made of the visual representation of the two women and also of the textual sources, such as the canonical and extracanonical gospels, a variety of medieval legends and different hagiographies or vitas and sermons from the period.

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de Hulster, Izaak J. "The Two Angels in John 20.12: An Egyptian Icon of Resurrection." New Testament Studies 59, no. 1 (December 14, 2012): 20–49. http://dx.doi.org/10.1017/s0028688512000239.

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The scene with two angels that Mary Magdalene sees in John 20.12 could have been visualized as an icon of resurrection by the first readers of the Fourth Gospel, especially by those familiar with the iconography of the Isis cult which was spread over the Roman Empire. Using traditional exegetical, hermeneutical, historical, and iconographic methods, this article stresses the importance of the resurrection in John 20, as corroborated by the motif of Isis and Nephthys flanking Osiris while mourning his death and assisting him in his resurrection.

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Meredith, Peter, Clifford Davidson, and John H. Stroupe. "Iconographic and Comparative Studies in Medieval Drama." Yearbook of English Studies 25 (1995): 257. http://dx.doi.org/10.2307/3508851.

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Vinzent, Jutta. "In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain." Exchange 39, no. 1 (2010): 29–48. http://dx.doi.org/10.1163/016627410x12559405201117.

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AbstractThis essay explores contemporary religious art in Britain through the lens of Homi K. Bhabha’s concept of hybridity. While he leaves it rather ‘ambivalent’, this essay suggests that in visual representations, various forms of hybridity can be distinguished: inculturation, interculturation and transculturation. These three types, hijacked from religious dialogue discourses, show a variety of power relations in representation and context; while incultural elements are based on a dominant versus subordinate role, intercultural ones form a dialogue; both expand iconographic vocabularies. Transcultural symbols refer to those which are existing parts of a variety of iconographies; these thus ‘merge’ visually different cultural heritages; their interpretation is, in the true sense of Bhabha, hybrid. The essay concludes by referring to the limits of transcultural symbols, which accept losses, blurs and shifts. The entire analysis is based on Hindu and Christian iconographies exploited by Caroline Mackenzie in her four wooden panels located for the Catholic Church in St. Helen in Caerphilly (Wales), commissioned in 1999.

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Ramón i Ferrer, Lluis. "The Saint Dionysius and Saint Margaret Altarpiece from the Cathedral of València." Religions 14, no. 1 (January 5, 2023): 77. http://dx.doi.org/10.3390/rel14010077.

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This work studies the iconography of Vicent Macip’s altarpiece dedicated to Saint Dionysius and Saint Margaret, which is found in the Cathedral of València. The main subject of the altarpiece is the presence of the Virgin Mary in salvation history. Iconographic categories have been described according to their possible relationship to the descriptions that appear in Francesc Eiximenis’s Vida de Jesucrist [Life of Jesus Christ, in Catalan] (Hereafter, this text will be referred to as VCE). or Isabel de Villena’s Vita Christi [Life of Christ, in Latin] (Hereafter, this text will be referred to as VCV), which are important works of 15th-century Valencian literature in the Catalan language that were read during the time the altarpiece was finished.

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DiPalma, Brian Charles. "Intersections between Iconographic and Gendered Approaches to Biblical Interpretation." Biblical Interpretation 25, no. 3 (June 21, 2017): 320–41. http://dx.doi.org/10.1163/15685152-00253p03.

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This paper explores the intersections between two approaches to biblical interpretation: iconographic and gendered approaches. Focusing on the ways that visual images from the ancient Near East have been incorporated in studying gender in the Hebrew Bible, I identify four intersections. These examples demonstrate that participating in an iconographic turn is an important way that gender studies in the Hebrew Bible can develop. I also seek to show that the interactions can be mutually fruitful. In other words, including gender as an area of inquiry is a way that the iconographic turn itself can develop in biblical studies.

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García Mahíques, Rafael. "Abraham Bids Farewell to Hagar and Ishmael: Continuity and Variation of the Iconographic Type." Religions 12, no. 12 (December 16, 2021): 1107. http://dx.doi.org/10.3390/rel12121107.

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In traditional Christian artistic visualization, the episode of Hagar and Ishmael in the desert has given rise to various iconographic types: “The feast for the weaning of Isaac and Sara’s protests,” “Abraham bids farewell to Hagar and Ishmael,” “Hagar and Ishmael in the desert” and “Divine salvation for Hagar and Ishmael”. This study looks into the continuity and variation over time of the second of these types: “Abraham bids farewell to Hagar and Ishmael,” the one most depicted out of this entire biblical topic or episode. Since the Byzantine Octateuch in the East (11th century.) and the Canterbury Hexateuch (ca. 1025–1049) in the West, this iconographic type has remained into the Late Modern period, with some variations over time. This study is exclusively iconographic or descriptive; it only verifies the codification of the type in order to set out an analytical basis prior to future hermeneutic or iconological studies.

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Acri, Andrea, and Roy Jordaan. "The Dikpālas of ancient Java revisited: A new identification for the 24 directional deities on the Śiva temple of the Loro Jonggrang complex." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 274–313. http://dx.doi.org/10.1163/22134379-90003562.

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Caṇḍi Śiva, sacred centre of the famous ninth-century Loro Jonggrang temple complex at Prambanan, Central Java, is decorated with numerous iconic and narrative reliefs. Starting from the eastern staircase and traversing the perambulatory in a clockwise direction, we find the narrative reliefs of the Rāmāyaṇa on the balustrade wall on our left, and the iconic reliefs of twenty-four seated male deities, each flanked by several attendants – collectively referred to in the accompanying iconographic plan as ‘Lokapālas with attendants’– on our right, that is, on the temple body proper. The prime objective of the present inquiry is propose a new identification of this set of twenty-four deities forming Śiva’s entourage, which remains an unresolved issue in the art history of Central Java. Our findings will have implications for our understanding of the iconographical master plan of Loro Jonggrang, and, in a wider sense, of certain developments in Indo-Javanese and Balinese iconography.

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Lenković, Mirela. "The Danse Macabre of the Beram Frescoes in the Chapel of sv. Marija na Škrilinah." Obnovljeni život 73., no. 3 (November 23, 2018): 409–10. http://dx.doi.org/10.31337/oz.73.3.7.

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The Danse Macabre as an iconographic theme appears in the Middle Ages across all of Europe carrying within it a message of the equality among people regardless of their station in life. Medieval artists used the various templates available to them: Biblia pauperum, Meditationes Vitae Christi, Legenda aurea, artistic templates, woodcuts, illuminated manuscripts, and the like. Scenes of the dying and death of ordinary people were not a theme of iconographic content prior to the Late Middle Ages, but rather begin to appear in the 14th century. There emerge at that time several categories of iconographic deaths. The Danse Macabre of the Beram frescoes (in the Chapel of sv. Marija na Škrilinah, 1474) contributes immeasurably to the artistic heritage of the Middle Ages as well as to Croatian cultural heritage.

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Tiemeyer, Lena-Sofia. "Book Review: Iconographic Exegesis and Third Isaiah." Expository Times 121, no. 9 (May 7, 2010): 474. http://dx.doi.org/10.1177/00145246101210090707.

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Fenster, Mark. "Country music video." Popular Music 7, no. 3 (October 1988): 285–302. http://dx.doi.org/10.1017/s0261143000002956.

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In order to take advantage of the promotional potential of the music video, the country music industry was forced to adapt a medium with conventions and aesthetic elements established by other musical genres – by pop and rock. And to reach its distinct market country music video also had to incorporate country's own established iconographic elements. This iconography is constructed and understood in two ways: through the traditional concerns of country music lyrics; and through the history of visual media based on and developed around the genre. Country music has, in fact, been associated with the screen since movies could first talk, from Jimmie Rodgers' 1929 movie short The Singing Brakeman through thousands of singing cowboy movies to the national television exposure that culminated in Hee Haw.

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Hernàndez-Cardona, Francesc Xavier, Rafael Sospedra-Roca, and David Íñiguez-Gracia. "Educational Illustration of the Historical City, Education Citizenship, and Sustainable Heritage." Sustainability 13, no. 10 (May 19, 2021): 5706. http://dx.doi.org/10.3390/su13105706.

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The Sustainable Development Goals identified by the United Nations (2030 agenda) aim to promote sustainable cities, the need to safeguard cultural heritage, and the importance of quality education. Through different projects, the DIDPATRI research group at the University of Barcelona has developed didactic iconographic models on the historical and heritage dimension of cities. Comprehensible proposals have been made by developing unique techniques and using easily accessible technologies. The working hypothesis has focused on the idea that the models of didactic iconography promote the understanding of the history of the city, and this enables educational actions and contributes to the formation of quality citizenship, aware of the importance of heritage, with a view to the sustainability of urban environments themselves. The components and the layout of the iconographic prototypes tested have been developed with the available technological variables, but, above all, they focus on the conceptual organization of the iconographic contents to show. In other words, it places greater emphasis on techniques than on subsidiary technologies for change. The development of different projects has generated models of empirical effectiveness, which methodologically have contributed to improving, in the key of sustainability, the knowledge of historical urban environments and respect for heritage. The case studies considered in this work are two of the most emblematic developed by the DIDPATRI group: the archaeological site of El Born in Barcelona, and the medieval site of La Seu de Urgell, in the Catalan Pyrenees.

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Beckerlegge, Gwilym. "Iconographic representations of Sri Ramakrishna and Swami Vivekananda." Journal of Contemporary Religion 11, no. 3 (October 1996): 319–35. http://dx.doi.org/10.1080/13537909608580778.

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Sycheva, Iuliia. "The Principle of Typological Parallelism of Testaments in Christian Iconography: on the Problem of Terminology." Человек и культура, no. 3 (March 2022): 61–68. http://dx.doi.org/10.25136/2409-8744.2022.3.38269.

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The object of research in this article is the terminological apparatus that is being formed in the foreign and russian historiographical tradition, describing concepts related to the principle of typological parallelism of Covenants in Christian iconography. This principle is based on the doctrine of "Reconciliation of Testaments" (considering Old Testament events as prototypes of New Testament history) and underlies the organization of plots already in a number of monuments of early Christian art. In the era of the High Middle Ages, this principle became one of the fundamental in the iconography of monuments of painting, sculpture and decorative and applied art. The subject of the study was the process of adding up the generally accepted terminology in studies devoted to the iconographic technique in question. The article also raises the problem of correlation between terms used in foreign and domestic historiography. Based on the analysis of the addition of the terminological apparatus in research on Christian iconography, the article concludes that there is no unified system of terms in modern science, especially in the domestic one, to describe the extremely important and widespread phenomenon of Christian iconography – the reflection in the pictorial cycles of the principle of "Reconciliation of Covenants". Tracing the etymology of the concepts used, the author of the article clearly demonstrates the existing contradictions in the terms "type", "antithype" and "antithype", and also analyzes the difficulties that arise when translating these concepts into Russian. Based on this research, it becomes possible to offer the most correct and unambiguously interpreted terms. The relevance of the study is explained by the absence in the Russian research literature of a system of terms for the iconographic principle under consideration, as well as individual Old Testament subjects-prototypes and their New Testament analogies.

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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.

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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance.

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Egeler, Matthias. "The Hunt and the Otherworld: A Breton Reading of the Massleberg Stora Skee Rock Art Panel (Bohuslän, Southern Sweden)." Numen 63, no. 4 (June 15, 2016): 383–410. http://dx.doi.org/10.1163/15685276-12341433.

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Taking its starting point from the current trend towards using Indo-European comparative material for elucidating Scandinavian Bronze Age rock art sites, this article develops an interpretation of the overall iconographic program of the Massleberg Stora Skee rock art panel in Bohuslän, southern Sweden. It focuses on the hunting scene which forms one of the centerpieces of the site and poses the question of how this hunting scene relates to the remaining iconographic elements of the panel, especially the ships and footprints, and to the water flowing over the rock. Using analogies drawn from Old French “Breton lays,” medieval Irish and Welsh literature, and the archaeology of the Hallstatt period (the Strettweg cult wagon), it is possible to develop an interpretation which connects the hunt with the communication between the human world and an “Otherworld” and to show how such an interpretation can tie in with the other iconographic as well as natural elements of the site. On this basis, the article concludes with a general discussion of the use of typological analogies versus the application of concepts of Indo-European heritage for the analysis of Scandinavian rock art and discusses the wider applicability of the “Otherworld” term as an analytical concept.

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Thomas, Ryan. "The Identity of the Standing Figures on Pithos A from Kuntillet ʿAjrud: A Reassessment." Journal of Ancient Near Eastern Religions 16, no. 2 (December 15, 2016): 121–91. http://dx.doi.org/10.1163/15692124-12341282.

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The question of the identity of the two standing figures at the center of pithos A continues to be a subject of vigorous debate, with the scholarly community divided over whether they should be explained in light of the inscription invoking Yhwh and his asherah that is situated above them. In this article, the author contributes to the discussion by reviewing the main iconographic arguments for identifying the figures as Yhwh and his female partner and in the process responds to some of the common objections that have been raised against the hypothesis. These include the figures’ sexual dualism, overlapping pose as male and female partners, their Bes-like and bovine features and associated mythological compatibility with Yhwh, and the larger iconographic context of the individual pithoi.

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Almansa-Villatoro, M. Victoria. "Reconstructing the Pre-Meroitic Indigenous Pantheon of Kush." Journal of Ancient Near Eastern Religions 18, no. 2 (November 26, 2018): 167–89. http://dx.doi.org/10.1163/15692124-12341299.

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Abstract This article sets out to address questions concerning local religious traditions in ancient Nubia. Data concerning Egyptian gods in the Sudan are introduced, then the existence of unattested local pre-Meroitic gods is reconstructed using mainly external literary sources and an analysis of divine names. A review of other archaeological evidence from an iconographic point of view is also attempted, concluding with the presentation of Meroitic gods and their relation with earlier traditions. This study proposes that Egyptian religious beliefs were well integrated in both official and popular cults in Nubia. The Egyptian and the Sudanese cultures were constantly in contact in the border area and this nexus eased the transmission of traditions and iconographical elements in a bidirectional way. The Meroitic gods are directly reminiscent of the reconstructed indigenous Kushite pantheon in many aspects, and this fact attests to an attempt by the Meroitic rulers to recover their Nubian cultural identity.

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Barrett, Caitlín. "Was Dust Their Food and Clay Their Bread? Grave Goods, the Mesopotamian Afterlife, and the Liminal Role of Inana/Ishtar." Journal of Ancient Near Eastern Religions 7, no. 1 (2007): 7–65. http://dx.doi.org/10.1163/156921207781375123.

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AbstractMany literary texts portray the Mesopotamian netherworld as unrelievedly bleak, yet the archaeological evidence of grave goods suggests that there may also have existed an alternative way of thinking about the afterlife. An analysis of the types of objects found in burials indicates that many people may have anticipated a less harsh form of existence after death. Furthermore, iconographic allusions to the goddess Inana/Ishtar in certain burials raise the possibility that this deity may have been associated with the descent of human dead to the netherworld. The occasional presence of her image and iconography in funerary contexts does not necessarily imply a belief that Inana/Ishtar would personally grant the deceased a happy afterlife, but it may provide an allusion to her own escape from the undesirable netherworld of literary narrative. Inana/Ishtar's status as a liminal figure and breaker of boundaries also may have encouraged Mesopotamians to associate her with the transition between life and death.

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Matanovic, Velimir. "Specific research of Serbian Byzantine influence in Poland. Frescoes in the Monastery in Supraśl." Zograf, no. 41 (2017): 213–26. http://dx.doi.org/10.2298/zog1741213m.

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The paper is dedicated to the origin of the fresco paintings in the Annunciation Church of the Theotokos Monastery in Supra?l (Poland). The results of previous studies were presented. A description of the original layout of the frescoes was necessary to determine iconographic solutions that suggest the painters? place of origin. In this context, the paper proposes the Balkan or Serbian origin of the style of the frescoes in Supra?l and some of their iconographic motifs and scenes.

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Morgan, Brandon L. "Reimaging Aesthetics: Sergius Bulgakov on Seeing the Wisdom of Creation." Irish Theological Quarterly 83, no. 2 (February 22, 2018): 149–63. http://dx.doi.org/10.1177/0021140018757885.

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In this essay I resource the philosophy and theology of Sergius Bulgokov, particularly his understanding of divine and human imaging, as a way of mapping human comportment towards the non-human material world in aesthetic terms. By comparing the development of his account of human action from his early Philosophy of Economy and his later dogmatic theology, I seek to render less disconcerting an ambiguity in Bulgakov’s work regarding human activity toward nature by contextualizing his early political philosophy within his later dogmatics. I argue that his later Trinitarian and Christological context more aptly suggests ways of viewing human action toward nature as aesthetic action animated by the perception of divinely created beauty. I then turn to Bulgakov’s views on iconographic art in order to show some theologically informed constraints and limits to aesthetic judgment and human creativity in the practice of iconographic writing that accord with Bulgakov’s broader theological anthropology.

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Smith, Tyler Jo. "Highland gods: rock-cut votive reliefs from the Pisidian Survey." Anatolian Studies 61 (December 2011): 133–50. http://dx.doi.org/10.1017/s0066154600008814.

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AbstractBetween 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide practices. It is suggested that reliefs of this type, that are associated with the protection of mortals, should also be viewed as part of the history of devotional art and added to discussions of rock art that extend beyond the Greek and Roman worlds. A detailed catalogue of the reliefs, organised by iconographic type, concludes the article.

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Bradshaw, Hannah. "‘She will wear the britsch’: Masculinity and the iconography of Prince Albert." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 199–222. http://dx.doi.org/10.1386/csmf_00025_1.

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This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.

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Amoroso, Nicolas. "The roles of Isis in Roman domestic cults: A study of the “Isis-Fortuna” bronze statuettes from the Vesuvian area 37." Archiv für Religionsgeschichte 18-19, no. 1 (September 26, 2017): 37–74. http://dx.doi.org/10.1515/arege-2016-0004.

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Abstract Among the material evidence related to the Isiac cults, the so-called “Isis- Fortuna” bronze statuettes are well attested throughout the Roman world. These objects were mainly discovered in domestic contexts with other divine figurines. Based on a survey of the archaeological and iconographic evidence for “Isis-Fortuna” from the Vesuvian area, this paper aims at examining the contexts of production and the geographical distribution of the bronze statuettes. In view of the information already published, we need to provide new answers by analysing how these images were created, transformed and/or adapted in specific contexts or geographical areas. Insofar as the images of Isis were commonly combined with elements borrowed from other deities, the iconographic type of “Isis-Fortuna” raises serious questions about terminology, typology and the so-called “syncretic phenomenon”. These questions will be discussed in the light of the preliminary results of our research, trying to frame the historico-religious background that conditioned the role(s) of Isis in Roman domestic cults.

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Salvador-González, José María. "The Vase in Paintings of the Annunciation, a Polyvalent Symbol of the Virgin Mary." Religions 13, no. 12 (December 5, 2022): 1188. http://dx.doi.org/10.3390/rel13121188.

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This article tries to highlight the deep doctrinal meanings underlying the vase that is often included in artistic depictions of the Annunciation. This apparently banal everyday object has been deliberately placed there in a prominent position to symbolize the Virgin Mary in her condition as the virginal mother of God the Son, and the bearer of all virtues to the highest degree. As methodological resources to justify our iconographic interpretations of that symbol in these images, our study is based on the analysis of texts by several Church Fathers and medieval theologians, as well as numerous liturgical hymns, which for more than a millennium agreed to designate the Virgin Mary as a “vase”, “vessel”, and other types of containers. Thus, this ancient patristic, theological and hymnographic tradition legitimizes our iconographic interpretation of the “vase” included in fifteen paintings of the Annunciation produced by artists from Italy, Flanders and Spain during the 14th and 15th centuries.

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Jacobsen, Knut. "The Child Manifestation of Śiva in Contemporary Hindu Popular Prints." Numen 51, no. 3 (2004): 237–64. http://dx.doi.org/10.1163/1568527041945508.

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AbstractGod posters have become one of the most visible aspects of popular religious culture in South Asia. In this article I argue that the God poster industry has created opportunities for iconographic innovations, but that the God posters nevertheless build on traditional sacred narratives and conceptions of the Hindu gods found especially in the Hindu epics and the Purānas.. Even if the iconographic representation of the child manifestations of Śiva is something new, these God posters rely on the presence of the child manifestations of Śiva in the sacred narratives of the Hindu tradition. While only some of the episodes of Śiva as a child till now have been depicted in the God posters, it is not unreasonable to expect that more episodes involving the manifestation of Śiva as a child will be depicted in God posters in the future.

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Hays, Christopher B. "Iconographic Exegesis and Third Isaiah - By Izaak J. de Hulster." Religious Studies Review 37, no. 1 (March 2011): 45. http://dx.doi.org/10.1111/j.1748-0922.2010.01487_12.x.

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Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–18. http://dx.doi.org/10.1145/3458885.

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Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may support iconography research and education. In this article, we introduce a novel paintings dataset for iconography classification and present the quantitative and qualitative results of applying a Convolutional Neural Network ( CNN ) classifier to the recognition of the iconography of artworks. The proposed classifier achieves good performances (71.17% Precision, 70.89% Recall, 70.25% F1-Score, and 72.73% Average Precision) in the task of identifying saints in Christian religious paintings, a task made difficult by the presence of classes with very similar visual features. Qualitative analysis of the results shows that the CNN focuses on the traditional iconic motifs that characterize the representation of each saint and exploits such hints to attain correct identification. The ultimate goal of our work is to enable the automatic extraction, decomposition, and comparison of iconography elements to support iconographic studies and automatic artwork annotation.

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Hasse, Dag Nikolaus. "King Avicenna: The Iconographic Consequences of a Mistranslation." Journal of the Warburg and Courtauld Institutes 60 (1997): 230. http://dx.doi.org/10.2307/751231.

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Kolbutova, Irina. "Interrelation of Platonic and Jewish-Christian Aspects of the Symbolism of the Cross in the Apocryphal Acts of the Apostles, Church Fathers and Christian Iconography." Scrinium 13, no. 1 (November 28, 2017): 309–38. http://dx.doi.org/10.1163/18177565-00131p21.

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Considering the symbolism of the cross in the Apocryphal Acts of the Apostles, scholars interpreted it in terms of Platonic and Gnostic influences. In this article I made an attempt to demonstrate a more profound ancient mythological and Jewish-Christian mystical background of this symbolism, which can be traced later in Christian Patristic writings and iconographic patterns.

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Nemykina, Elena Aleksandrovna. "Transformation of the Nemanichi’s ideology in the monuments of the Milutin era (1282–1321) in the conquered Macedonian territories." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 89–106. http://dx.doi.org/10.21638/spbu19.2020.206.

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This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.The process of «byzantinization» affects all the areas of the life of the Serbian kingdom, including art. Establishing his presence in Macedonia, Milutin, with the help of the Greek masters, actively builds and restores churches, rebuilds the Greek buildings and invites the Greek artists, Michael and Eutychios, belonging to the progressive artistic movement to paint churches. Thus, the architectural and pictorial ensembles of this time arise within the framework of the Byzantine artistic tradition and correspond to the main currents of the Byzantine art. Fresco paintings are created in accordance with the stylistic principles of the advanced trends of the Paleologian Renaissance and are replete with fresh iconographic solutions, new semantic accents and compositions. Good preservation of the most of Milutin’s monuments ensured close attention of the researchers. However, with a thorough study of the Byzantine traditions in the Serbian cultural paradigm, the fact of embedding national specifics into the Byzantine imperial theme remained unnoticed, as evidenced by a number of the iconographic features of the monumental paintings considered in this article.Keywords: imperial theme, iconography, medieval fresco painting, national specifics, Milutin, ideology of Nemanichi, Macedonia, Serbian Kingdom, art, cultural studies, cultura of Medieval Ages.

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Motamedmanesh, Mahdi, and Samira Royan. "Khosrow II (590–628 CE)." Encyclopedia 2, no. 2 (May 10, 2022): 937–51. http://dx.doi.org/10.3390/encyclopedia2020062.

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Khosrow II (r. 590–628 CE) was the last great Sasanian king who took the throne with the help of the Romans and broke with dynastic religious preferences as he became married to a Christian empress. It was under his rule that the Sasanian Empire reached its greatest expansion. From the standpoint of iconographic studies, Khosrow II is among the most influential Persian kings. Although he was literally occupied by rebels and wars within the borders of the Sasanian territories and beyond, Khosrow managed to create a powerful image of himself that emphasized the legitimacy of his monarchy. Indeed, Khosrow Parviz (the Victorious) drew upon royal iconography as a propaganda tool on a wide range of materials such as rock and stucco reliefs, coins, seals, and metal plates. His image (created both visually and verbally) not only revived the traditional iconography of the Persian kings but also evolved it in a way that transcended his time and was passed on to the early Islamic Caliphates after him. Khosrow II imitated and manipulated the traditional royal iconography of his predecessors in order to display his legitimacy, piety, and valor.

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Vampelj Suhadolnik, Nataša. "Han Mural Tombs: Reflection of Correlative Cosmology through Mural Paintings." Asian Studies, no. 1 (December 1, 2011): 19–48. http://dx.doi.org/10.4312/as.2011.-15.1.19-48.

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The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinesecosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorative function, but together with the architectural structure and other burial objects reflected the entire cosmic image. The analysis of tomb paintings reveals a developed correlative cosmology yin-yang wuxing which manifests its concrete image in symbolic codes of individual iconographic motifs. The article first displays a general review of tombs with murals, and then focuses on depictions in Han tomb murals, discussing representation of the images of celestial bodies, the symbolic polarity of the cosmical forces yin and yang, the symbolism of the four directions and the four seasons and the symbolic circling of the five xings.

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KOZINCHUK, Vitalii. "Evolution and transformation of the iconographic canon in Ukrainian art." Humanities science current issues 1, no. 46 (2021): 78–84. http://dx.doi.org/10.24919/2308-4863/46-1-12.

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Minnich, Nelson H. "Raphael's Portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi: A Religious Interpretation." Renaissance Quarterly 56, no. 4 (2003): 1005–52. http://dx.doi.org/10.2307/1261978.

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AbstractA recent cleaning of the painting, scientific examinations of it, the publication of new letters related to it, and studies of the prophetic culture in which it was produced all call for a reevaluation of the traditional interpretations of Raphael's portrait Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi. After a close analysis of the major iconographic details in the painting, the strengths and weaknesses of the various secular and religious interpretations of the painting are reviewed. That the painting is primarily religious in theme with prophetic and devotional overtones is argued as the most reasonable interpretation, given the iconographic details and context.

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Hepp, Guy David, Sarah B. Barber, Jeffrey S. Brzezinski, Arthur A. Joyce, and Rachael L. Wedemeyer. "The Symbolism, Use, and Archaeological Context of Masks in Formative Period Coastal Oaxaca, Mexico." Cambridge Archaeological Journal 30, no. 2 (November 25, 2019): 257–74. http://dx.doi.org/10.1017/s0959774319000623.

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The production and use of masks at multiple scales and in diverse contexts is a millennia-long tradition in Mesoamerica. In this paper, we explore some implications of Mesoamerican masking practices in light of materiality studies and the archaeology of the senses. We also discuss a collection of 22 masks, miniature masks and representations of masks from the lower Río Verde valley of coastal Oaxaca, Mexico. The iconography of these artefacts as well as their recovery from well-documented archaeological contexts inform our interpretations of masking practices during an approximately 2000-year span of the Formative period (2000 bc–ad 250). Specifically, we argue that these masking-related artefacts index sociocultural changes in the region, from the first villages and the advent of ceramic technology during the Early Formative period (2000–1000 bc) to a time of increasing consolidation of iconographic influence in the hands of the elite in the final centuries before the Classic period. As indicated by their continued use today, masks have long been intimates of communal activities in Oaxaca.

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Fusco, Ugo. "New Reliefs from Veii and Mithraic Reliefs from Etruria (Regio VII): Iconography, Chronology and Archaeological Context." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (December 2018): 69–83. http://dx.doi.org/10.1556/068.2018.58.1-4.5.

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Summary This paper discusses the Mithraic reliefs found in Etruria (Regio VII). The reliefs are analysed and their iconographic, archaeological and chronological features compared with a view to advancing new proposals on the cult of Mithras in the area concerned. The paper focuses first on the new Mithraic relief discovered in Veii and discusses the presence of a specific object that constitutes the most original iconographic feature of the relief. It can be seen aligned behind Mithras' head, which obscures its central part: considering its shape and the presence of the quiver over Mithras' right shoulder, the object can be identified as a bow. The object's specific position, probably connected to the symbolic importance of the bow in the mysteries of Mithras, is unique not only among Mithraic reliefs but also in the surviving Mithraic evidence from the Roman world. The other reliefs from Etruria are analysed, with a brief description of the type of iconography, the chronology and archaeological context of each piece. Comparing the reliefs allows us to pinpoint differences in size, style and chronology, highlighting the uniqueness of the new relief from Veii. These differences can be put down to factors that are yet to be examined in more detail, connected to the clients and the workshops operating in the region. The study concludes that the Veii relief can be considered not only the oldest and most stylistically refined of these pieces, but also one of the earliest attestations of the cult of Mithras in Etruria.

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BODZEK, Jarosław. "A Note on a Samarian Coin Type. A Royal Horseman?" Gephyra 24 (November 15, 2022): 143–49. http://dx.doi.org/10.37095/gephyra.1174953.

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Some new, unlisted types of Samarian coins have appeared recently on the antiquities market. In the present paper I would like to discuss some points concerning one of them, which is especially interesting because of its iconography. The coin appeared on the market in Autumn 2021. Its reverse shows an image of a cavalryman with a spear or a javelin. Unlike the other images of the Iranian cavalrymen depicted on Samarian coins, the exemplar probably shows "the Great King like figure" having long beard and wearing a kidaris. So far, such an image is not only unique in Samarian coinage, but finds only one analogy in the coinages of the Achaemenid period in general. The image of "the Great King like figure" on horseback is, on the one hand, an interesting extension of the iconographic repertoire of Samarian coins, and on the other hand, it complements my earlier findings concerning the images of the Iranian horseman on Samarian, but also broadly speaking, on satrapal coins.

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Gries, Laurie E. "Iconographic Tracking: A Digital Research Method for Visual Rhetoric and Circulation Studies." Computers and Composition 30, no. 4 (December 2013): 332–48. http://dx.doi.org/10.1016/j.compcom.2013.10.006.

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Bobrik, Marina A. "The Inscription In Greek on the Fresco Scroll of John the Baptist in the Holy Transfiguration Church of Nereditsa." Slovene 7, no. 1 (2018): 27–40. http://dx.doi.org/10.31168/2305-6754.2018.7.1.2.

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This paper analyses the single Greek inscription in the 12th century Holy Transfiguration Church of Nereditsa (Veliky Novgorod, Northern Russia). A mysterious text is reproduced on the scroll in the hand of John the Baptist on the fresco in the conch of diaconicon. Nowadays one can see the following sequence of letters and signs: + ΕVΡΗΚ‖ĀŌΜ. . .:; the photograph made before the destructions of the World War II allows to reconstruct the inscription as follows: + ΕVΡΗΚ‖ĀŌΜĒÌᾱ: (with a cross at the beginning and a final sign) which I will tentatively interprete as + ΕVΡΗΚA[μεν] [τ]O[ν] ΜE[σ]IA[ν]: “we have found the Messiah.” For a long time the epigraph was considered corrupt and there is no published interpretation of it. I will give a description of the epigraph (especially of some remarkable features in the usage of supralinear signs), identify the text as a citation from Jn 1:41, and I will also interpret the inscription in its historical and iconographic context. Not only the language is remarkable (other epigraphs in the church are Slavic), but also the text chosen (Jn 1:41) and the iconographic type of the Baptist (as a prophet). I will argue that there is a semantic connection between the text choice and the commemorative motives in the overall iconographic program of the church, and that the We of the Gospel citation can be associated with the two sons of the church founder (Prince Yaroslav) — both of them died one year before the church was decorated.

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Haney, Kristine Edmondson. "The Christ and the beasts panel on the Ruthwell Cross." Anglo-Saxon England 14 (December 1985): 215–31. http://dx.doi.org/10.1017/s0263675100001356.

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Although the Ruthwell Cross has universally been regarded as one of the most outstanding achievements of early Northumbrian civilization, the meaning of its iconographic programme remains the subject of considerable debate. Central to most interpretations is the largest panel on the Cross, one depicting Christ and the beasts (see pl. Ia). The correct identification of this scene has long been regarded as crucial for achieving an understanding of the iconographic programme as a whole. While this scene must be accepted as the key to the programme, no entirely satisfactory explanation of its meaning has hitherto been offered. This study will draw attention to textual and visual evidence which provides a new basis for understanding this panel and its relationship to the remaining scenes.

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Ferrer Ventosa, Roger. "A Sacred Marriage. Hierogamy in the Most Hermetic Art, from Alchemy to The Sacrifice, by Andrei Tarkovsky." Eikon / Imago 11 (March 1, 2022): 233–43. http://dx.doi.org/10.5209/eiko.78018.

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Many cosmogonies see the creation as a hierogamy, a non-dualist cosmogonic mytheme. It can also be found in alchemical engraving books, used in reference to one of the stages of the process, represented in iconography. In that phase, a woman and a man have sexual intercourse, like in the Rosarium Philosophorum. This iconographic type portrays a non-dual worldview, according to which the world needs to link both primary poles. This is achieved with resources inherent to visual art. Alchemy stands out as one of the few currents with a strong non-dual factor in Western schools. Subsequent artists were influenced by this iconography and the ideas represented in it, such as William Blake and surrealists like Leonora Carrington. It is also relevant as one of the most predominant motifs in the style of Andrei Tarkovsky, omnipresent in his work. It is in his last film, The Sacrifice, in which the alchemical universe is most present. In this film, the world is threatened by an apocalyptic Third World War, but a sexual ritual perhaps might reverse the crisis.

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Riyanto, Sugeng. "KAJIAN IKONOMETRI ARCA LOGAM PRODUK PERAJIN TROWULAN." Berkala Arkeologi 28, no. 2 (November 30, 2008): 52–62. http://dx.doi.org/10.30883/jba.v28i2.363.

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A question often raised on metal sculpture made by Trowulan artists is: do iconometric aspects of the sculptures follow the iconometric order? Studies on iconology, including iconographic and iconometric studies, are important in Indonesian archaeology. Iconometric study on metal sculptures made by Trowulan artists is an example for iconometric study in Indonesia.

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Zinni, Mariana C. "Poder y representación en las fiestas efímeras: la entrada triunfal en potosí del virrey-arzobispo morcillo." Razón Crítica, no. 10 (January 2020): 33–59. http://dx.doi.org/10.21789/25007807.1701.

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This work studies certain iconographic artifacts erected to celebrate the triumphal entry of the recently appointed interim Viceroy, Archbishop Diego de Morcillo y Auñón, to Villa Rica del Cerro de Potosí, on his way to Lima. Such artifacts, the magnificent triumphal arches, masquerades, a play (loa), and even an oil painting, commissioned to Melchor Pérez de Holguín, were designed in advance. Their purpose was to exalt the figure of the Viceroy by embodying emblematic artistic figures. This research proposes the reading of certain aspects of the iconographic program produced around the figure of Morcillo in order to elucidate local features and some characteristics of the creole agency in Potosí, carefully displayed in these emblems.

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Journal articles on the topic 'Iconographic studies'

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