Journal articles on the topic 'INSCRIPTION IMAGES'
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1
Zhang, Haoming, Yue Qi, Xiaoting Xue, and Yahui Nan. "Ancient Stone Inscription Image Denoising and Inpainting Methods Based on Deep Neural Networks." Discrete Dynamics in Nature and Society 2021 (December 20, 2021): 1–11. http://dx.doi.org/10.1155/2021/7675611.
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Chinese ancient stone inscriptions contain Chinese traditional calligraphy culture and art information. However, due to the long history of the ancient stone inscriptions, natural erosion, and poor early protection measures, there are a lot of noise in the existing ancient stone inscriptions, which has adverse effects on reading these stone inscriptions and their aesthetic appreciation. At present, digital technologies have played important roles in the protection of cultural relics. For ancient stone inscriptions, we should obtain more perfect digital results without multiple types of noise, while there are few deep learning methods designed for processing stone inscription images. Therefore, we propose a basic framework for image denoising and inpainting of stone inscriptions based on deep learning methods. Firstly, we collect as many images of stone inscriptions as possible and preprocess these images to establish an inscriptions image dataset for image denoising and inpainting. In addition, an improved GAN with a denoiser is used for generating more virtual stone inscription images to expand the dataset. On the basis of these collected and generated images, we designed a stone inscription image denoising model based on multiscale feature fusion and introduced Charbonnier loss function to improve this image denoising model. To further improve the denoising results, an image inpainting model with the coherent semantic attention mechanism is introduced to recover some effective information removed by the former denoising model as much as possible. The experimental results show that our image denoising model achieves better results on PSNR, SSIM, and CEI. The final results have obvious visual improvement compared with the original stone inscription images.
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Sreedevi, Indu, Rishi Pandey, N. Jayanthi, Geetanjali Bhola, and Santanu Chaudhury. "NGFICA Based Digitization of Historic Inscription Images." ISRN Signal Processing 2013 (May 8, 2013): 1–7. http://dx.doi.org/10.1155/2013/735857.
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This paper addresses the problems encountered during digitization and preservation of inscriptions such as perspective distortion and minimal distinction between foreground and background. In general inscriptions possess neither standard size and shape nor colour difference between the foreground and background. Hence the existing methods like variance based extraction and Fast ICA based analysis fail to extract text from these inscription images. Natural gradient flexible ICA (NGFICA) is a suitable method for separating signals from a mixture of highly correlated signals, as it minimizes the dependency among the signals by considering the slope of the signal at each point. We propose an NGFICA based enhancement of inscription images. The proposed method improves word and character recognition accuracies of the OCR system by 65.3% (from 10.1% to 75.4%) and 54.3% (from 32.4% to 86.7%), respectively.
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Ruwanmini, Liyanage, Karunarathne, Dias, and Nandasara. "AN ARCHITECTURE FOR AN INSCRIPTION RECOGNITION SYSTEM FOR SINHALA EPIGRAPHY." International Journal of Research -GRANTHAALAYAH 4, no. 12 (December 31, 2016): 48–64. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2392.
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Sinhala Inscriptions are used as one of the major sources of getting information about ancient Sri Lanka. Revealing the Information from these inscriptions becomes a huge challenge for archeologists. This research paper focused on Sinhala character recognition in ancient Sri Lankan inscription. Our intention is to ease this process by developing a web based application that enable recognition of inscription characters through scanned images and store them in an inscription database. Using this system people can track geographical location of inscriptions. Epigraphist could be able to easily obtain Sinhala interpretation of Sri Lankan inscriptions via the optical character recognition feature in our system. Our work on this research project provides benefits to researchers in archaeology field, epigraphists and general public who are interested in this subject. Inscription site tracking module will present a map that user can go around easily by tracking the locations of inscriptions. This paper presents the Architecture for this Sinhala Epigraphy system.
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Purnama Yanti, Christina, and I. Gede Andika. "HSV image classification of ancient script on copper Kintamani inscriptions using GLRCM and SVM." Jurnal Teknologi dan Sistem Komputer 8, no. 2 (January 18, 2020): 94–99. http://dx.doi.org/10.14710/jtsiskom.8.2.2020.94-99.
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The problem of inscription physical damage as one of the historical heritages can be overcome using an image processing technique. The purpose of this study is to design a segmentation application for ancient scripts on inscriptions to recognize the character patterns on the inscriptions in digital form. The preprocessing was carried out to convert images from RGB to HSV. The application used the gray level run length matrix (GLRLM) to extract texture features and the support vector machine (SVM) method to classify the results. The inscription image segmentation was carried out through the pattern detection process using the sliding window method. The application obtained 88.32 % of accuracy, 0.87 of precision, and 0.94 of sensitivity.
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Revesz, Peter Z., and Géza Varga. "A Proposed Translation of an Altai Mountain Inscription Presumed to Be from the 7th Century BC." Information 13, no. 5 (May 10, 2022): 243. http://dx.doi.org/10.3390/info13050243.
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The purpose of this study is to examine an Old Hungarian inscription that was recently found in the Altai mountain and was claimed to be over 2600 years old, which would make it the oldest extant example of the Old Hungarian script. A careful observation of the Altai script and a comparison with other Old Hungarian inscriptions was made, during which several errors were discovered in the interpretation of the Old Hungarian signs. After correcting for these errors that were apparently introduced by mixing up the inscription with underlying engravings of animal images, a new sequence of Old Hungarian signs was obtained and translated into a new text. The context of the text indicates that the inscription is considerably more recent and is unlikely to be earlier than the 19th century.
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Iudin, Nikita I., Andrey N. Maslovsky, and Mehdi Kazempur. "Glazed Bowl with Persian Pottery from Azak." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 2, no. 40 (June 27, 2022): 175–82. http://dx.doi.org/10.24852/pa2022.2.40.175.182.
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The article presents translation of the inscriptions on a big glazed bowl of Azerbaijani origin from the excavations of Azak. This find is unique for the archaeology of the Golden Horde. For the first time, since the moment of discovery, full translation, the preserved part of an inscription is published. The poetic text belongs to the previously unknown poet, Mokhi Al Din Ali Olnasser. This is one of the most voluminous epigraphic monuments found during the excavations of the Golden Horde sites. A fragment from the Samosdelka settlement, which bears the name of the master potter, Mahmud ibn Yusuf, probably comes from a bowl with a similar inscription. The work also provides information about the share and chronology of Shirvan ceramics in the complex of finds from Azak and other cities of the Golden Horde, gives its technological description and cites some of the most striking images.
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P, Divyarupa Sarma. "An Overview of Musical Instruments in Temple Inscriptions and Sculptures." International Research Journal of Tamil 4, S-8 (August 9, 2022): 275–81. http://dx.doi.org/10.34256/irjt22s840.
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Temple inscriptions and sculptures bear testimony to what the Tamil music tradition would have been like many years ago. Although music has not been given a special place in the history of inscriptions, many temples have images of musical instruments engraved in inscriptions and sculptures. During the reign of the king, the art of inscription and sculpture was developed. Music is an integral part of human life. Early man classified lands based on nature and associated music with divine worship. Temple inscriptions and sculptures record references to dance, song, musicians, and musical instruments. Inscriptions and sculptures are widely used to remind people of current events. There is an example for laymen and researchers to learn and understand the shapes of musical instruments. Texts such as Tamilar Music, Panchamarapu, and Tamilar Torkaruviyal give us references to many musical instruments. The shapes of the images can be seen in person in the inscriptions in the temple. Descriptions of music and musical instruments can be found in inscriptions and sculptures at Thillai Nataraja Temple in Chidambaram, Ekambaranathar Temple, Kailasanathar Temple in Kanchipuram, Mamallapuram Gangaikonda Cholapuram, Nellaiappar Temple in Tirunelveli, Tarasuram Temple in Kumbakonam, Kudavarik Temple in Tirumeyyam in Pudukottai District, Arunachaleswarar Temple in Tiruvannamalai, Thiruvattaru.
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Gerleigner, Georg Simon. "ΑΘΕΝΑΙΑ / ΑΙΑΣ." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 60 (February 24, 2020): 33–40. http://dx.doi.org/10.26034/la.cdclsl.2020.139.
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That the placement of name inscriptions (letter-chains naming figures or, in rare instances, other pictorial elements) in Greek vase-painting followed certain conventions was noticed early by scholars. In his seminal Non-Attic Greek Vase Inscriptions, Rudolf Wachter succinctly described two main “principles of labelling” : the “starting-point principle” and the “direction principle”.1 While these conventions allow for some variation which is mainly determined by the availability of space, the basic rule of the starting-point principle is that a name is placed close (but preferably not too close) to the figure it refers to – often as close to the head as possible –, with the first letter of the inscription always being closest to a figure’s head (the only exception to that are cases where the name is in its whole width placed horizontally above the head). This also determines the direction of the writing : if the name is placed to the right of (the head of) a figure, the writing runs from left to right, and vice versa ; as a consequence of this direction principle, the “feet” of the letters face the figures they belong to. The rationale behind these long-running and overwhelmingly consistently observed conventions followed by vase-painters presumably was to make clear to the viewer in an unambiguous way which inscription referred to which figure – otherwise (and sometimes still, despite adherence to the conventions) something not easily achieved in many images teeming with figures and letters. In this contribution, I would like to present a – to my knowledge singular – case of a name inscription that plays with these conventions in a spectacular way which epitomises the ingenuity of some craftsmen in exploiting the specific potential of the combination of writing and imagery which inscriptions in Greek vase-paintings represent.
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Purnama Yanti, Christina, and I. Gede Andika. "THINNING STENTIFORD ALGORITHM FOR KINTAMANI INSCRIPTION IMAGE SEGMENTATION." Jurnal Techno Nusa Mandiri 17, no. 1 (March 15, 2020): 17–22. http://dx.doi.org/10.33480/techno.v17i1.1203.
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In the copper, inscription contained writing strokes that have high historical value. Age and environmental factors cause damage to the inscription surface and also reduce the appearance of images and letters. One way to preserve it is to carry out the process of converting it into digital format. The use of the morphological operation method is very suitable to be used to improve the shape of the letters in the copper inscription. The morphological operations performed in this study were the Thinning Stentiford algorithm. Based on research that has been done, it was concluded that the Thinning Stentiford algorithm has succeeded in segmenting the letters that exist in the Kintamani copper inscription. However, there are some letters are not well segmented. This is due to the inscription background color and carved letter colors that don't have significant differences. Testing the time it was concluded that the greater the size of the image and the more letters will be segmented, the longer the processing computing.
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Wang, Ziyang, Wei Zheng, and Youguang Chen. "Deep learning for fast bronze inscription image retrieval." Journal of Chinese Writing Systems 4, no. 4 (December 2020): 291–96. http://dx.doi.org/10.1177/2513850220964956.
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Collections of bronze inscription images are increasing rapidly. To use these images efficiently, we proposed an effective content-based image retrieval framework using deep learning. Specifically, we extract discriminative local features for image retrieval using the activations of the convolutional neural network and binarize the extracted features for improving the efficiency of image retrieval, firstly. Then, we use the cosine metric and Euclidean metric to calculate the similarity between the query image and dataset images. The result shows that the proposed framework has an impressive accuracy.
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Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
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During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
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Béla Zsolt, Szakács. "Falra hányt betűk: késő gótikus falikrónikák a középkori Magyarországon." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 37–56. http://dx.doi.org/10.1556/080.2020.00003.
Full textAbstract:
During the 15th and 16th centuries, a number of long inscriptions were painted on the walls of parish churches in the territory of the medieval Hungarian Kingdom. The first known example is in the St Elisabeth’s of Kassa (Kaschau, Košice, Slovakia). The earlier inscription in the north-east chapel describes the events between 1387 and 1439 while it is continued in the south transept with a political manifestation on the side of the new-born King Ladislas V, opposed by Wladislas I. Another wall-chronicle is readable in the entrance hall of the St James’ in Lőcse (Leutschau, Levoča, Slovakia). Here the inscription, dated to ca 1500, commemorates events between 1431 and 1494, including local fires and diseases, the coronation of Ladisla V and Wladislas II and the royal meeting of John Albert of Poland and Wladislas II of Hungary held at the city in 1494. On the other side of the entrance hall, a detailed Last Judgement was painted, as the final act of world history. The inscriptions of Lőcse are usually interpreted as a manifestation of the local identity of the Saxons in the Szepes (Zips, Spiš, Slovakia) region, enjoying special privileges. This is probably also true for the second group of wall-chronicles, to be found in Transylvania in the important Saxon towns. The only surviving example is in Szeben (Hermannstadt, Sibiu, Romania), in the gallery of the western hall (Ferula). Beside some national events (coronation of King Matthias, death of Louis II) it is dealing with Transylvanian affairs between 1409 and 1566. A similar chronicle has been documented in Brassó (Kronstadt, Braşov, Romania), which started the narrative with the immigration of the Saxons and ended with 1571, with a special attention to the Ottoman wars. Unfortunately the inscriptions have been covered after the fire of 1689. Other wall-chronicles are documented by secondary sources in Segesvár (Säsßburg, Sighișoara), Medgyes (Mediasch, Mediaș), Beszterce (Bistritz, Bistrița), Muzsna (Meschen, Moșna), Baráthely (Pretai, Brateiu) and Ecel (Hetzeldorf, Ațel, all in Romania). While all these were written in Latin, a Hungarian inscription has been preserved in the Calvinist church of Berekeresztúr (Bâra, Romania) in the Szeklerland from the early 17th century. Although a misunderstanding of the sources led some scholars to suppose an inscription or an images cycle with secular content in Buda, these passages refer in reality to the Franciscan friary at Chambery. In international comparison, the Gothic wall-chronicles seem to be a rarity; the best example is known from the cathedral of Genoa, where the rebuilding of the cathedral in the early 14th century is connected to the legendary origin of the city, counterbalancing the civil war between the citizens.Decorating the walls of churches with letters instead of images is certainly aniconic, but not necessarily un-pretentious. Letters always play a decorative function whenever written on the walls. The letters, especially for the illiterate people, was a special type of ornament. Nevertheless, inscriptions, as far as their letters are readable and languages are understandable, tend to be informative. Interpreting their content depends on different levels of literacy. But they work for all as visual symbols. The longish Latin wall chronicles of Late Gothic parish churches were probably understood by the rich patricians; but the large surfaces close to the entrances might have been meaningful for all others who recognized their significance in local identity-building. The illiterate local people of the Protestant villages were unable to decipher the exact meaning of the inscriptions, even if they were in their native Hungarian language. However, these letters were necessarily eloquent for the entire community: the fact itself that there are letters decorating the walls instead of images was meaningful, reflecting the transformation of Christian culture. The letters themselves, legible or not, had a symbolic value which can be decoded taking into consideration their location, forms and context.
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Kubarev, G. V. "Study of Petroglyphs in the Lower Reaches of the Chuya River in the Altai." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 488–96. http://dx.doi.org/10.17746/2658-6193.2021.27.0488-0496.
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This article describes the results of author’s work on searching, copying, and interpreting new petroglyphs and inscriptions in the lower reaches of the Chuya River (Ongudaysky District of the Altai Republic) as well as documenting engraved images at the well-known petroglyphic site of Kalbak-Tash I. Despite over a century of studying the petroglyphs at Kalbak-Tash and its monographic publications by V.D. Kubarev, the surfaces with engraved drawings have remained unprocessed or quality of their copying was not high enough. The author briefly examines the history of research into the Kalbak-Tash I petroglyphs, including the works of various scholars on copying the engravings at that site in the recent years. The article discusses technical difficulties in copying fine engravings on rocks, especially if they are a part of large compositions of different periods. History of elaborating techniques for copying engravings and use of both transparent materials and digital photography for this purpose is provided. The author concludes that the best technique for large compositions is to use them as a whole. Preliminary results of coping large engraved compositions on the surfaces of rock I at Kalbak-Tash are presented. Most likely, two chronological layers of overlapping engravings can be distinguished: the Hunnic period and Early Middle Ages. On one of the surfaces, the author discovered and copied a new rune-like inscription. The survey which was conducted on the right bank of the Chuya River in the area from the cliffy bank of Kalbak-Tash to the village of Iodro resulted in discovering new compact petroglyphic sites and two inscriptions (a rune-like line and inscription made in the Uighur script in black paint). The main cluster of petroglyphs from the Iodro site, including the central multi-row tiered composition, belongs to the Bronze Age - Early Iron Age. However, Early Medieval images of deer were also found there.
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Wang, Yuanfei. "The Emaciated Soul: Four Women’s Self-Inscriptions on Their Portraits in Late Imperial China." NAN Nü 22, no. 1 (June 8, 2020): 36–69. http://dx.doi.org/10.1163/15685268-00221p02.
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Abstract This article examines the emaciated self-images of four women’s self-inscription poems on their own portraits. They are Huang Hong (early seventeenth century), Xi Peilan (1760–after 1829), Tan Yinmei (fl. mid-eighteenth to early nineteenth century) and Zheng Lansun (1819-61). These women similarly describe their self-images as qiaocui (emaciated), alluding to the legendary girl poet Feng Xiaoqing. Inherently ambivalent, qiaocui could imply sexual and erotic appeal, the virtuous mind of a recluse, sickness, ordinariness, melancholy, as well as aging and death. The article argues for the importance of the rhetoric of qiaocui and the topoi of Feng Xiaoqing in the self-inscriptions by women in Hangzhou and the broader Jiangnan region as a medium to construct their female subjectivity. This article suggests that, initially a persona publicly circulated in the late Ming, the topoi of Feng Xiaoqing came to define the women’s personhood in private spaces in late eighteenth and early nineteenth centuries.
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Darwish, Ibrahim, and Rafat Al Rousan. "Words on Wheels: Investigating Car Inscriptions in Jordan." Journal of Educational and Social Research 9, no. 4 (October 1, 2019): 128–37. http://dx.doi.org/10.2478/jesr-2019-0062.
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Abstract This study investigates the thematic content of car inscriptions in Jordan. A random corpus of 322 car inscriptions was collected from various types of vehicles by the researchers themselves across Irbid Governorate in Jordan in the period 12 January to 30 March, 2019. The corpus was then refined excluding graphics, such as drawings, maps, ready-made stickers, graphs, symbols and other images. Each inscription was individually analysed and thematically tagged. Moreover, inscriptions were tagged for the age of the cars that carried them: old (>10 years old) and new (≤10 years old). Lastly, the tags were counted and percentages were extracted. The findings show that car inscriptions in Jordan fall under twelve major themes: religion, philosophy, advertisement, tagging, futility & fun, patriotism, alliance, brands, romance, instructions, politics and greetings. In addition, the results show that old cars are more likely to be written on than new ones. Finally, it is evident that Jordanian car owners and/or drivers use their moving vehicles as an inexpensive and efficient way for voicing their opinions, beliefs, views, emotions and attitudes in addition to being a low-cost advertising venue.
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Rasmana, Susijanto T., Yoyon K. Suprapto, and Ketut E. Purnama. "Color Clustering in the Metal Inscription Images Using ANFIS Filter." TELKOMNIKA (Telecommunication Computing Electronics and Control) 11, no. 3 (September 1, 2013): 529. http://dx.doi.org/10.12928/telkomnika.v11i3.1135.
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Aibabin, Aleksandr. "For a Discussion About Epigraphic Evidence of the Activities of Byzantium in the Mountainous Crimea in the 6th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, no. 6 (December 28, 2021): 6–18. http://dx.doi.org/10.15688/jvolsu4.2021.6.1.
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Introduction. In the basilicas discovered on the Mangup plateau (fig. 3), in the Karalez valley (fig. 1) that begins at its foot and on Eski-Kermen (fig. 2, 1), inscriptions were found, the interpretation and dating of which caused many years of discussion. Some scientists considered them as evidence of the activities of the Eastern Roman Empire in the region in the 6th century, while other specialists doubted both such an interpretation of the inscriptions and their dating. Methods. To substantiate the chronology of the mentioned inscriptions, it is important to consider the formulas and linguistic features contained in them, as well as the stratigraphy recorded during the excavation of temples and the revealed dated closed ceramics complexes. Analysis. The text of the inscription with the name of Justinian I is correlated with the information of Procopius about the construction of the “Long Walls” in the Dory region at the behest of the emperor. Most likely, the inscription reported the construction of one of the “Long Walls” in the Karalez valley at the foot of Doros. It is possible that the stone (fig. 1) with the typical Byzantine graffiti with the formulas ΦΩС ΖΩΗ and κ(ύρι)ε βοήθ(ει...) was inserted into a wall of an apse of the basilica right after its construction in the Karalez valley in the second half of the 6th century. On a stone over the graffiti ΦΩС ΖΩΗ letters of the second graffiti “Ἰς νικᾷ” are cut out which means Ἰ(ησοῦ)ς (Χριστὸς) νικᾷ – “Jesus Christ wins”. In Byzantium the images of a cross with the formula IC XC NI ΚΑ (Ἰ(ησοῦ)C Χ(ριστὸ)C Ν(ικ)Α) appeared at the iconoclast emperor Leo III (717–741) and were distributed in later time. Results. Undisputed evidence of Byzantium’s activity in the region in the 6th century is only the fragment of a plate with a building inscription that means the emperor Justinian I found in a late slab grave at the basilica on Mangup. According to the stratigraphy, revealed in 1938 during the excavations of the Baptistry on Mangup, the graffiti (fig. 3) that caused a long discussion was carved on the back of the cornice in the second construction period not earlier than in the 9th century.
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Wunenburger, Jean-Jacques. "Extase scopique, sédimentation langagičre et inscription corporelle. Les images dans la civilisation contemporaine." PARADIGMI, no. 3 (November 2009): 71–83. http://dx.doi.org/10.3280/para2009-003006.
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- Linguistic Sedimentation, and Bodily Inscription At present, we are exposed to an excessive offer of images, which raises a problem of assimilation. Subjects are increasingly passive, in ways that can border on pathological conditions. Yet, it is not so much a question of condemning this situation as of finding a way of re-symbolizing images, saving them from mere contemplation and inserting them in a process of contextualisation. Such a process requires an understanding of the role of the body and of the incorporation of images along the lines of Bachelard's intuition of the "resisting" nature of images. This raises the possibility of an education to images suited to the present age.Key words: Alienation, Education, Embodiment, Image, Informatics, Symbolisation.Parole chiave: Alienazione, Educazione, Immagine, Incorporazione, Informatica, Simbolizzazione.
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Milani, Giuliano. "Avidité et trahison du bien commun: Une peinture infamante du XIIIe siècle." Annales. Histoire, Sciences Sociales 66, no. 3 (September 2011): 705–39. http://dx.doi.org/10.1017/s0395264900011094.
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RésuméSur la base d’une nouvelle lecture d’une inscription conservée au Palazzo della Ragione de Mantoue, l’article propose de réinterpréter la peinture au sein de laquelle cette inscription est insérée comme l’un des premiers témoignages de peinture infamante parvenus jusqu’à nous, réalisée pour punir les citoyens qui avaient remis aux ennemis le château communal de Marcaria en 1251. La présence du motif iconographique de la bourse autour du cou conduit à réfléchir à la définition des comportements contraires à la bonne gestion des ressources publiques dans les communes italiennes du Moyen Âge et, plus largement, à l’usage des images pour véhiculer des messages idéologiques.
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ALEXANDER, ANDRÉ, and SAM VAN SCHAIK. "The Stone Maitreya of Leh: The Rediscovery and Recovery of an Early Tibetan Monument." Journal of the Royal Asiatic Society 21, no. 4 (October 2011): 421–39. http://dx.doi.org/10.1017/s1356186311000411.
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AbstractThe rediscovery, conservation and repositioning of an ancient stone carved Buddha in Leh, Ladakh is one of the most important events in recent years for students of early Tibetan history and religion. Uncovering an inscription next to the carving has made it possible to date this artefact to the eleventh century or even earlier, while deciphering the inscription has confirmed that the figure should be identified as the Buddha Maitreya. This identification permits a better understanding of how the cult of Maitreya among of the emperors of imperial Tibet extended to western Tibet, and how the Maitreya images of western Tibet represent a specific local iconography.
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von Minnigerode, Elisa. ""Because No One Can Seize me from Behind": Sir Christopher Hatton's Double Portrait and Elizabethan Textual Paintings." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 4 (September 9, 2021): 325–40. http://dx.doi.org/10.30958/ajha.8-4-3.
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Many researchers have emphasised the special use of inscriptions and texts in Tudor paintings. Especially in Elizabethan times, emblematic images emerge and contain texts which present riddles to their audience, address an implicit or explicit beholder, and also give information about their own function. The enigmatic double-sided portrait of Christopher Hatton serves as an outstanding example of the various relations that texts and images form in this era. Two elements of its composition will be discussed here: the inscription and the depiction of Father Time, both on the verso-side. One, a textual element, forms a unit with the other, a pictorial element. On their own and in combination, both built up a reference to emblem books and sources outside the picture and contextualise themselves in humanistic discourses about opportunity and time. Thus, their exclusive presentation forms a dialogue with the beholder and opens up a meta-level of artistic expression. The ancient pictorial tradition of the God Kairos is addressed in the combination, while it labels itself as a depiction of time. Overall, the object briefly examined in this study is an outstanding example of Elizabethan artistic culture and remains a desideratum in art history.
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T.K.S, Arunachalam, and Srihari S. "IMAGE INSCRIPTION AND INTONATION -A NEURAL NETWORK APPROACH." International Research Journal of Computer Science 8, no. 8 (August 30, 2021): 172–77. http://dx.doi.org/10.26562/irjcs.2021.v0808.003.
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Digital communication technologies have greatly influenced and expanded the way humans interact. The progress of information technology has opened wider opportunities for communication. Social networks have become the modern-day social communities connecting people from different parts of the globe, sharing images and videos on these platforms. By creating virtual communities, digital communication has expanded the scope of communication eliminating barriers. We aim to make further progress in this arena by describing an image in the form of audio to visually impaired people. A certain section of differently abled people is unfortunately isolated from this world. In-order to combat this issue we have come up with a system that describes an image shown in the form of plain text using an encoder-decoder architecture and is integrated with an end-to-end lexical articulator which produces a vocal description of the given image.
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Martell, James. "Idiomatic Images: Derrida and the Forgotten Japanese Film Irezumi." Oxford Literary Review 39, no. 2 (December 2017): 210–27. http://dx.doi.org/10.3366/olr.2017.0222.
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In a footnote of Monolingualism of the Other Derrida describes the plot of a ‘Japanese film whose name [he does] not know,’ but which presents a familial history of incest, violence and tattoos, and which relates to the dream of his style, his ‘ductus,’ what he wants to make arrive to language. By analysing this film together with other instances of tattooing in Derrida's body of work, this essay will show how, if Derrida's dreamt style is a colourful tattoo, this is because his texts are an undecidable inscription, a violent penetration and loving transfusion, between images and words.
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Stošić, Mirjana. "How to Do Things with Pain?" AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 1. http://dx.doi.org/10.25038/am.v0i18.300.
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Speaking of the monstrous or ‘foreign’ body archivally inscribed in culture, one notes a surfeit of imagery at play, a slideshow of supplementary images which both circumscribe and stultify any attempt to write or speak about the body outside of this code of foreignness. This paper argues that such an archive of etiolated body is shadowed by a similarly circumscribing archive of pain. Archives of pain, whether medical, cultural, literary, or ontogenetic, have long been conceived in terms of montage, a series of ‘signs, images, or ciphers’ belonging to the language of diagnosis. This code of diagnostic expertise constatively works to describe and inscribe pain as a supplement to inscriptions of bodihood which are themselves supplementary. This paper seeks to affectively map a shift away from constative taxonomies of pain and body image, towards an approach that ethically and aesthetically privileges the performativity of pain, the pain-act that speaks its suffering without recourse to image or inscription. Article received: December 12, 2018; Article accepted: January 23, 2019; Published online: April 15, 2019; Original scholarly paperHow to cite this article: Stošić, Mirjana. "How to Do Things with Pain?" AM Journal of Art and Media Studies 18 (2019): 1–7. doi: 10.25038/am.v0i18.300
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Xiong, Ye. "Rediscovering the Textual Sources of the “De Dashizhi Pusa 得大勢志菩薩” in Cave 169 of Bingling Temple." Religions 14, no. 7 (July 17, 2023): 915. http://dx.doi.org/10.3390/rel14070915.
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Niche 6 in Cave 169 of Bingling Temple 炳靈寺 contains the earliest surviving Amitāyus sculpture triad in cave temples of China. This paper attempts to re-identify the textual sources of the ink inscription “De Dashizhi Pusa 得大勢志菩薩” (Skt. Mahāsthāmaprāpta Bodhisattva) from the Amitāyus sculpture triad in Cave 169. At first, it corrects the misidentification of the inscription “De Dashizhi Pusa” in recent decades. Then, it discusses the relationship between multiple scriptures and “De Dashizhi Pusa”. Considering the configuration of the niches, the theme of the sutra, the translation and transmission history of the sutra, and the content of the statue, this paper concludes that the inscription “De Dashizhi Pusa” and niche 6 should have been significantly influenced by the Lotus Sutra 法華經, although this paper does not deny the indirect and partial influence from the Pure Land texts on the Amitāyus sculpture triad during its restoration process. Such a discovery not only sheds light on the configuration of the Lotus Sutra images, but also provides art historical evidence for future exploration of the relationship between the Lotus Sutra and the Pure land Buddhism.
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Deconinck-Brossard, Françoise. "‘First’ or ‘Solemn’ Communion Images in France, 1885–2021." Studies in Church History 59 (June 2023): 383–410. http://dx.doi.org/10.1017/stc.2023.17.
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Arguably, the ‘first’ or ‘solemn’ communion, later also called ‘profession of faith’, was a rite of passage for generations of French eleven- or twelve-year-old children. It remained virtually unchanged, under these different names, until the early 1970s, when it gradually fell into decline. Friends, relatives, and even state school teachers, were customarily given small religious images with a commemorative inscription on the reverse, stating the communicant's name as well as the date and place of the ceremony. This article analyses a small private collection of such ‘popular’ objects and discusses the evolution in their representations of lived religion in a secular country where a strong Roman Catholic tradition has given way to a post-Christian society.
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Salomon, Richard. "Aṣṭabhujasvāmin: A Reinterpretation of the Ābhīra Inscription from Nagarjunakonda." Indo-Iranian Journal 56, no. 3-4 (2013): 397–417. http://dx.doi.org/10.1163/15728536-13560313.
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The Nagarjunakonda stone inscription dated in the reign of the Ābhīra king Vasuṣeṇa presents many problems of interpretation, solutions for some of which are proposed in this article. For example, it has been understood by previous editors as referring to the joint establishment of an image of Aṣṭabhujasvāmin by a group of kings, but in reality it refers to the establishment by a single person, apparently an official of Vasuṣeṇa. The mention of the other kings actually refers to the well-attested custom of seizing sacred images from rivals. The deity Aṣṭabhujasvāmin, whose affiliation was previously contested, is shown on comparative grounds to be a form of Viṣṇu.
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Stepanenko, Valeriy. "To the Iconography of the Saint Warrior Horseman in the Byzantine Sphragistics of the 12th – 13th Centuries. Saint Demetrios of Thessalonika." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 111–20. http://dx.doi.org/10.15688/jvolsu4.2019.6.9.
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Introduction. The images of holy warriors were extremely popular in the art of Byzantium and the countries of the Byzantine cultural circle of the 11th – 14th centuries. They are known for numerous images in iconography, monumental painting, applied art. They are numerous in sphragistics. The image of a warrior horseman best known for the early 13th century monuments is the rarest and most recent formation. Introducing new sigilographic monuments into the scientific circulation and determining the time of appearance of this iconographic type on their basis are among the main goals of the proposed research. Methods. The methodological basis of the study is an interdisciplinary integrated approach that involves using methods of the comparative analysis of sfragistics, numismatic and other categories of monuments. Analysis. Two seals are kept in the State Hermitage Museum collection. Both sides of the first seal (M-12374) have the depiction of Saint Demetrios of Thessaloniki as a horseman triumphant. On the left, under the cloak, there is the inscription ΟΔΗ. that, apparently, can be revealed as Ὁ (ἅγιος) Δη(μήτριος). On the other side of the seal there is a full-length image of Saint Stephanos with a censer and pyxis in his hands. On the front side of the second seal (M-3751) there is the same image of Saint Demetrios of Thessaloniki with a similar inscription. On the reverse side of the seal there is the inscription “Defender, look at me, your slave Christopher”. Results. The images of Saint Demetrios of Thessaloniki on both seals are almost identical, which implies the existence of a common prototype, most likely an honored icon. We can assume that it was in Thessaloniki in the Basilica of Saint Demetrios. Probably, the image of the warrior triumphant is the latest version of the iconography of saint warrior and it is known for the few monuments of the late 11th – 12th centuries. As a result, both seals can be dated to the same time.
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Munivel, Monisha, and V. S. Felix Enigo. "Optical Character Recognition for Printed Tamizhi Documents using Deep Neural Networks." DESIDOC Journal of Library & Information Technology 42, no. 4 (July 19, 2022): 227–33. http://dx.doi.org/10.14429/djlit.42.4.17742.
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Tamizhi (Tamil-Brahmi) script is one of the oldest scripts in India from which most of the modern Indian scripts are evolved. The ancient historical documents are generally preserved as digitised texts using Optical Character Recognition (OCR) technique. But the development of OCR for Tamizhi documents is highly challenging as many characters have similar shapes and structures with very small variations. In specific, for Tamizhi script it is very difficult to build an OCR as many characters are combined characters. This can be a single character formed by a single vowel/consonant or compound characters formed by combining vowels and consonants. This paper deals with the development of Tamizhi OCR for printed Tamizhi documents which is anticipated to perform efficiently irrespective of poor quality, noises and various input formats of Tamizhi documents. This is a preliminary study towards developing an OCR for handwritten Tamizhi inscription images that recognises text captured from onsite inscriptions. The developed Tamizhi OCR for printed text can produce an accuracy of about 91.12 per cent.
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Bobrik, Marina A., and Viktor K. Singkh. "A Witness of the Matrimonial Rituals from Old Novgorod. Inscription on a Bone from the 13th Century Excavated 2020." Slovene 10, no. 2 (2021): 22–40. http://dx.doi.org/10.31168/2305-6754.2021.10.2.2.
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In the summer of 2020, a fragment of a cow's rib with a Cyrillic inscription was found at excavations in Novgorod. The place of the find is one of the richest boyar estates in the Lyudin quarter of medieval Novgorod. The time of the document hitting the ground is the last quarter of the 13th—the first twenty years of the 14th century. The inscription is fully preserved, it contains a whole readable message. The historical and cultural value of the find lies in the content of its compact inscription: it is unique evidence of a bride-price agreement. The terminology is of value: the bride, on whose behalf the text is written, and the groom (addressee) are designated not by their own names (Christian or pre-Christian), but by the images of the ritual folklore of the wedding — kuna ‘marten’ (she) and sobol’a ‘sable’ (he). The bride-price is no less interesting. The text communicates an idea of a dialogue between the two sides of the marriage ritual. The new evidence of the matrimonial rites and the associated oral-written communication expands our understanding of this sphere of medieval culture and allows us to correct some interpretations of the few birch bark letters on the topic of marriage.
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Spennemann, Dirk H. R. "Production of German Picture Postcards at the Western Front 1915–1916 as Exemplified by the Imagery of the Church Bell of Marquillies (Département du Nord, France)." Heritage 6, no. 3 (March 22, 2023): 3324–52. http://dx.doi.org/10.3390/heritage6030176.
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During World War I the soldiers’ life at and behind the frontline was captured by personal photography. While heavily regulated and censored on the allied side, conditions were more relaxed for German soldiers, and for German officers, in particular. Drawing on a large sample set of images of the same subject matter, a French church bell with a patriotic, anti-German inscription, this paper surveys the private production of picture postcards by German soldiers. Initially photographed by a range of individuals, some images were eventually produced as printed lithographed postcards by regional German publishers. The processes and limitations of the personal versus commercial production of picture postcards are discussed.
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Rhiney, Kevon, and Romain Cruse. "“Trench Town Rock”: Reggae Music, Landscape Inscription, and the Making of Place in Kingston, Jamaica." Urban Studies Research 2012 (December 31, 2012): 1–12. http://dx.doi.org/10.1155/2012/585160.
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This paper examines place inscriptions in Trench Town, Jamaica, and explores the ways these are used to reinforce, shape, or challenge dominant images of this inner-city community. On one hand, Trench Town is like many of its neighbouring communities, characterised by high levels of poverty, unemployment, political and gang violence, derelict buildings, and overcrowded homes. On the other hand, Trench Town is iconic and unique as it is recognised worldwide for being the birth place of reggae music and home to a number of well-known reggae artists including reggae superstar Bob Marley. Today, Trench Town’s landscape is filled with inscriptions reminiscent of its rich cultural past. Linked to this is a conscious effort by its residents to identify themselves with reggae music and to recapture and sustain the positive legacies that have made the community popular. This is manifested in the numerous murals, statues, and graffiti seen throughout the community evoking past images of reggae music icons such as Marley and Tosh alongside renowned black leaders such as Marcus Garvey. These inscriptions are conceived as texts and are seen as part of a broader discourse on issues relating to urban spatial identity, commoditisation, exclusion, struggle, resistance, and change.
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Perea Yébenes, Sabino. "La urna de Luscinia Philumena. Consideraciones sobre su atribución romana y su carmen epigraphicum = The Urn of Luscinia Philumena. Considerations about its Roman Attribution and its Carmen Epigraphicum." Espacio Tiempo y Forma. Serie II, Historia Antigua, no. 31 (November 27, 2018): 85. http://dx.doi.org/10.5944/etfii.31.2018.23035.
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Estudiamos una urna romana que se exhibe en el Museo Lázaro Galdiano de Madrid. Tiene una inscripción poética realizada en los primeros años del siglo XVII, inspirada en los poetas latinos de Re Rustica y de Historia Natural, texto latino considerado espurio por CIL 06, *3461. Hacemos un análisis iconográfico del monumento y un análisis filológico del poema, ofreciendo una nueva traducción del mismo. Se ofrecen imágenes inéditas de la urna.We studied a Roman urn that is exhibited at the Museo Lázaro Galdiano in Madrid. It has a poetic inscription made in the early years of the seventeenth century, inspired by the Latin poets of Re Rustica and Naturalis Historia. The Latin text of the inscription was rightly considered spurious by the CIL editors. We make an iconographic analysis of the monument and a philological analysis of the poem, offering a new translation of it. Unpublished images of the urn are offered, especially the epigraphic text.
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Smith, Amy C. "Eurymedon and the evolution of political personifications in the early classical period." Journal of Hellenic Studies 119 (November 1999): 128–41. http://dx.doi.org/10.2307/632314.
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In the 460s BC an unnamed artist painted an unusual oinochoe with a unique scene–a Greek chasing an Oriental archer–that marks an important stage in the development of symbolic imagery in the arts of early Classical Greece. This oinochoe of unusual shape (Plate 8a-b), now in Hamburg, was first published by Konrad Schauenburg. On side A, a bearded Greek hunter, running ¾-view to the right, clutches his phallos in his right hand and reaches his left arm toward an Oriental archer, on side B. The archer stands ¾-view to the right, bent at the hips, with his upper body in a rare frontal pose, and his hands raised to his head. A curious inscription fills the space between the two characters. Two equally plausible restorations of the inscription, each of which carries its own divergent interpretation of the images, have emerged: the original publication by Schauenburg and a response by Gloria Pinney.
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Fadeyeva, Liudmila V. "VOTIVE PAINTING AS A NARRATIVE ABOUT A MIRACLE." Folklore: structure, typology, semiotics 5, no. 1 (2022): 104–25. http://dx.doi.org/10.28995/2658-5294-2022-5-1-104-125.
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The article deals with votive paintings of the Alpine region. These attractive works of folk art (and the religious culture of the Catholic South of Europe as well) are observed from the point of view of their functional aims as testimonies of a miracle that happened in human life. Votive paintings are interesting first of all as visualized stories, therefore it’s worthy of representing the perspective of the comparison between their narrative strategies and the narrative strategy of folklore legends. The author notes that the inclusion of a special inscription in the first person is optional for the picture. Moreover, Italian masters often use only formal inscriptions; they try to translate their customer’s stories into a drawing completely. However, the examination of some examples which show a parallel transmission of the event via words and images demonstrates remarkable differences in narrative strategies. It is significant that the visualization of a miracle as a divine intervention into the circumstances of a person’s life is mostly a result of the traditional iconography scheme followed by the painter; while the words of the person participating in the event are primarily focused on the reality and tiny details of what happened.
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Harmanşah, Ömür. "‘Source of the Tigris’. Event, place and performance in the Assyrian landscapes of the Early Iron Age." Archaeological Dialogues 14, no. 2 (October 26, 2007): 179–204. http://dx.doi.org/10.1017/s1380203807002334.
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Performative engagements with specific, culturally significant places were among the primary means of configuring landscapes in the ancient world. Ancient states often appropriated symbolic or ritual landscapes through commemorative ceremonies and building operations. These commemorative sites became event-places where state spectacles encountered and merged with local cult practices. The Early Iron Age inscriptions and reliefs carved on the cave walls of the Dibni Su sources at the site of Birkleyn in Eastern Turkey, known as the ‘Source of the Tigris’ monuments, present a compelling paradigm for such spatial practices. Assyrian kings Tiglath-pileser I (1114–1076 B.C.) and Shalmaneser III (858–824 B.C.) carved ‘images of kingship’ and accompanying royal inscriptions at this impressive site in a remote but politically contested region. This important commemorative event was represented in detail on Shalmaneser III's bronze repoussé bands from Imgul-Enlil (Tell Balawat) as well as in his annalistic texts, rearticulating the performance of the place on public monuments in Assyrian urban contexts. This paper approaches the making of the Source of the Tigris monuments as a complex performative place-event. The effect was to reconfigure a socially significant, mytho-poetic landscape into a landscape of commemoration and cult practice, illustrating Assyrian rhetorics of kingship. These rhetorics were maintained by articulate gestures of inscription that appropriated an already symbolically charged landscape in a liminal territory and made it durable through site-specific spatial practices and narrative representations.
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Kalas, Gregor. "Architecture and élite identity in late antique Rome: appropriating the past at Sant'Andrea Catabarbara." Papers of the British School at Rome 81 (September 26, 2013): 279–302. http://dx.doi.org/10.1017/s0068246213000111.
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The conversion of a fourth-century secular basilica into the church of Sant'Andrea Catabarbara in Rome during the 470s invites a discussion of how architectural adaptation contributed to the identity of its restorer, Valila. More than a century after the praetorian prefect of Italy, Junius Bassus, founded the basilica in 331, a Goth named Valila, belonging to the senatorial aristocracy, bequeathed the structure to Pope Simplicius (468–83). References to Valila's last will in the church's dedicatory inscription were inserted directly above Junius Bassus's original donation inscription, inviting reflections upon the transmission of élite status from one individual to another. The particularities of Valila's legacy as a testator, as indicated in the references to his will in the Sant'Andrea Catabarbara inscription and confirmed by a charter he wrote to support a church near Tivoli, suggest that he sought to control his lasting memory through patronage. Valila's concern for a posthumous status provides a context for interpreting the interior of the Roman church. Juxtaposed to the church's fifth-century apse mosaic were opus sectile panels depicting Junius Bassus, together with scenes of an Apollonian tripod and an illustration of the exposed body of Hylas raped by two nymphs originating from the earliest phase of the basilica. The article proposes that Valila nuanced his élite identity by preserving the fourth-century images and thereby hinted that preservation fostered both the accretion of physical layers and the accrual of multiple identities by a Gothic aristocrat in Rome.
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Mammaev, M. M. "SYMMETRY AND ASYMMETRY IN FORMS AND DECORATIVE FINISH OF MUSLIM GRAVESTONES OF THE 14th -15th CENTURIES IN THE VILLAGE OF KUBACHI." History, Archeology and Ethnography of the Caucasus 13, no. 4 (December 15, 2017): 54–73. http://dx.doi.org/10.32653/ch13454-73.
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This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.
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Barboza, Carlos. "Movie posters: between the spectator and the movie screen. Three cases in contemporary Chilean cinema." Revista de Antropologia Visual 3, no. 30 (October 13, 2022): 1–16. http://dx.doi.org/10.47725/rav.030.05.
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The movie poster responds to the logics of the advertising field. Yet, its way of mediating between the spectator and the product that it advertises —an audiovisual work consisting of hundreds of images— make it a complex cultural product and allows us to analyze it using the notion of intermediality, as the inscription surface for signs that migrate from the screen to the printed poster. This article explores the posters of three contemporary Chilean films viewing them as the symptomatic expression of a social, historical, and aesthetic gaze.
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Чудинов, Валерий, and Valeriy Chudinov. "Feoglyphics as a sciene of the Earth´s artificial surface relief." Servis Plus 9, no. 1 (March 6, 2015): 86–97. http://dx.doi.org/10.12737/7587.
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The article covers a new scientific branch — the science of geoglyphics, which studies space-eye view (1,000 and over km from the surface of the earth) of ancient inscriptions, images, symbols and traces of ancient settlements. The author provides a brief description of the history ofgeoglyph studies, geoglyph types, interpretations of a geoglyph, and makes seven conclusions concerning the signification ofgeoglyphs for research into the history of different ethnic groups.
The author defines a geoglyph as at least a 4-metre all-angle image or inscription on the surface of the Earth.
Throughout the 20th century it was the Nazca Lines in Peru were the only scientifically acclaimed geogplyphs. However, there seems to be noplace on the planet that could not boast a geoglyph of its own.
Despite the fact that for a long time Russian researchers have abstained from studying geoglyphs, at present Russian science has produced interesting reports, for example byAleksei Loktev. However, pessimistic views are also voiced, for example, Oleg Utkin claims that the topic receives undeservedly little attention.
Men of art also resort to creating geoglyphs of nonexistent objects such as, for example, the fictitious land ofAtlaropa (also referred to as Panropa). Private collections of the geoglyphs of the past century are being created as well.
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Slaymaker, James. "Images of the World and the Inscription of War : Brian De Palma’s Redacted and Domino." Film International 18, no. 1 (March 1, 2020): 28–39. http://dx.doi.org/10.1386/fint_00004_1.
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McGrath, Lynette. "The other body: Women's inscription of their physical images in 16th‐ and 17th‐century England." Women's Studies 26, no. 1 (January 1997): 27–58. http://dx.doi.org/10.1080/00497878.1997.9979149.
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Dondero, Maria Giulia. "Le plan de l’expression des images: Quelques réflexions sur support et apport." Semiotica 2020, no. 234 (October 25, 2020): 253–70. http://dx.doi.org/10.1515/sem-2018-0124.
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AbstractIn this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images.
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GRICE, HELENA. "“The Voice in the Picture”: Reversing the Angle in Vietnamese American War Memoirs." Journal of American Studies 46, no. 4 (April 27, 2012): 941–58. http://dx.doi.org/10.1017/s0021875811001964.
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Vietnam in the American consciousness is a confluence of images of conflict; where Vietnamese appear they are backdrop to displays of US heroism. There is another story, which Vietnam veteran and filmmaker Oliver Stone calls “the reverse angle, what the war was like from the perspective of the people living in Vietnam.” If America's memory of the conflict is dominated by US perspectives, this is also in images rather than in words. Pictures of monks immolating themselves and people scrambling to board US helicopters have produced a generation who know of Vietnam only through images. One of these images is a bombing mission which dropped napalm on some villagers. AP photographer Nick Ut captured a severely burned Kim Phuc running screaming in the streets; his photo won the Pulitzer Prize and became one of the most infamous images of conflict ever captured; her recently published life story is the reverse angle and, with similar texts by Le Ly Hayslip, Andrew X. Pham and Duong Van Mai Elliot, represents an emergent perspective, a counternarrative of Vietnam, and a new kind of American literature of peace. My essay explores the inscription of the Vietnamese American perspective on the conflict via life writing.
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Looper, Matthew G. "From Inscribed Bodies to Distributed Persons: Contextualizing Tairona Figural Images in Performance." Cambridge Archaeological Journal 13, no. 1 (April 2003): 25–40. http://dx.doi.org/10.1017/s0959774303000027.
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Following trends in anthropology, the human body has recently become an important topic of discourse in archaeology. While some anthropologists consider the body as a social metaphor or site of symbolic inscription, others have questioned the validity of approaches based on the dichotomization and hierarchization of the mind and body. Semasiology, in particular, offers an epistemologically sound basis for interpreting the body, by grounding agency in the socially-structured actions that constitute corporeal space. This article applies the semasiological concept of the action-sign to archaeological problems through an examination of the interrelationship between Tairona anthropomorphic imagery and remains of ceremonial architecture at Pueblito, an archaeological site in Colombia. In both cases, physical remains constitute the traces of the actions through which agential persons created sacred spaces, and the meanings of these spaces may be more fully reconstructed by comparing diverse modes of embodiment. Tairona figural art and architecture constitute a creative technology, serving as an indexically-bound nexus of embodied social action.
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Burkovska, Liubov. "Synthesis of Word and Image in the Religious Art." Folk art and ethnology, no. 3 (September 30, 2022): 70–77. http://dx.doi.org/10.15407/nte2022.03.070.
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The problems of synthesis of religious art and literature in medieval culture are considered in the article. The nature of interactions of the artistic material and its text basis is investigated. Historical lore and the descriptions of the eyewitnesses of the Jesus Christ, the Mother of God, Apostles have been of a great significance at the early stages of icon painting images development. The period of iconography formation on the base of the evidences, memories and sacred texts has lasted till the 8th century. Gradually the icon is transformed into a peculiar sacred matrix, independent cult object, where the problem of historical similarity is replaced by reality, determined by the consent of Christian community. The necessity of comprehension with the help of faith and mind of what is reproduced by the sacred images – their spiritual, true idea – appears in the foreground. Starting from the 17th century Ukrainian masters gain knowledge of iconographic canons, technique of icon painting, theological admonitions and precepts from Herminia – a special reference book-teaching aid for the painters. The image of a certain saint, especially the physiognomic features, is described in them by words. Several descriptions of the saints’ appearance in their lifetime are also known. These are in particular the images of Saint Nicholas, kept in ancient synaxaria. According to the dogma on veneration of icons (adopted by the Second Council of Nicaea in 787), the inscription of the saint name is an integral attribute of the icon painting. It determines sameness between the image and its prototype. Inscriptions, signatures and accompanying texts are introduced consistently into ancient easel works, wall paintings and miniatures. The images of saints are applied to the faithful, showing them the opened books, unfolded scrolls. In the Old Ruthenian art the classical thematic structure of the saints’ life cycles, basing on the Byzantine hagiography, has been supplemented with plots of the actions of Kyiv recording. Sometimes in Ukrainian monuments the inscriptions are placed near the image, on the icon’s background. These are the so-called supplementary texts. The plots of the living icons have been connected with the written sources. The synthesis of written sources and artistic material is the most evident in the book miniature. Observation of convergence of the visual material and literature shows, that the experience of various arts isn’t transferred mechanically on the surface foreign for them, but is changed, transformed, adopted by art, which has perceived it and at the same time crystallizes the peculiarity of each of them.
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Barabanov, Nikolay. "Hair-Snakes. To the Issue of the Semantics of Byzantine Phylacteries with “Hystera”." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 316–30. http://dx.doi.org/10.15688/jvolsu4.2019.6.25.
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Introduction. The article is devoted to analyzing the specific type of Byzantine phylacteries (amulets), which are a vivid manifestation of folk beliefs that combine pagan, magical and Christian components. The author talks about the so-called “coils” – pendants with the image of a head with reptiles instead of hair or simply in combination with snakes. Many of them have a magical inscription mentioning “hysteria” (uterus), which can be understood as this particular organ, as well as various harmful entities. For this reason, there is a problem of correlation of the image and the magic inscription. But the article attempts to interpret the serpentine composition in the context of its functional purpose. Methods. In historiography, there are many opinions about what the images could represent on this type of monuments. At different times, researchers saw in the image of a head with snakes Medusa Gorgon, the dragon-Satan, Russian Aphrodite – goddess Lada, Abrasax, Sophia of Ophites, Moses’ brazen serpent, Eve and the devil, the seven-headed serpent and seven deadly sins, sisters-Likhoradkas, the dragon from the Apocalypse, the serpent of Aesculapius transformed into Satan. In addition, the composition was recognized as a “portrait” of the demon and his machinations elevated to the image of Khnubis and was considered the personification of the hysterical uterus itself. Analysis. In the article, the meaning of the serpentine composition is considered in the comparative analysis with other images on amulets. This is possible due to the presence of stereotypes and general principles in the construction of magical drawings applied to the amulets, as well as the general meaning that is associated with the functional purpose of the phylacteries. In different types of the images on amulets, semantic emphasis is placed on reproducing the desired action. For this, phylacteries were made and used, and magical texts, signs, images of saints, the Mother of God and even Christ himself were applied to the amulet. Results. The symbolism of the serpentine composition is revealed within the same sign system. The drawing combining a head (face) and wriggling snakes clearly represents the desired effect – the outcome, the flight of illnesses or the forces of the evil symbolized by reptiles from a person.
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Zanoletti, Margherita. "Translating an Imagetext: Verbal and Visual Self-Representation in Brett Whiteley’s Interior, Lavender Bay (1976)." TTR 26, no. 1 (June 22, 2016): 195–220. http://dx.doi.org/10.7202/1036955ar.
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This paper explores the relationship between the words and images in the drawing Interior, Lavender Bay by the Australian artist Brett Whiteley (1939-1992). This artwork combines the depiction of the artist’s home with a written element composed of the title, date, artist’s monogram, and a brief inscription. By examining Whiteley’s use of words and images in this drawing, the verbal/visual synergy that underpins his language is emphasized as a key aspect of his communicative appeal. The interpretive lens used in order to analyze Interior, Lavender Bay is interlingual translation. Translating Whiteley’s words from English into Italian allows not only to decipher the literal meaning and comprehend the symbolic function of his words, but also to highlight the relation between art and language. From this perspective, drawing on W. J. T. Mitchell’s Picture Theory (1994), the paper aims to discuss the functioning of images and the way in which interlingual translation might bring out latent connections in the source, opening a window on the interdisciplinary encounter between creative processes in the visual art and translation theory and practice.
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Bjerregaard, Mikael Manøe, and Maria Elisabeth Lauridsen. "Et middelalderligt saltkar fra Odense." Kuml 63, no. 63 (October 31, 2014): 245–64. http://dx.doi.org/10.7146/kuml.v63i63.24467.
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A medieval saltcellar from OdenseIn the early summer of 2013 Odense City Museums began one of the largest ever excavations in a medieval town in Denmark. The excavation has been characterised by many intriguing finds, one of them being a small hexagonal tin vessel, decorated with images of the Fall and Agnus Dei and with carved ‘hausmarks’ on its sides and an inscription in erroneous Latin. The vessel is unique in Denmark, but it is very similar in type to a group of saltcellars from western Europe dating from about 1300 to the early 1400s. Although a combination of the two images of the Fall and Agnus Dei is traditionally associated with baptism in medieval iconography, and therefore indicates a liturgical application, the inscription and the hausmarks strongly indicate secular use.The saltcellar from Odense has seven different hausmarks on its vertical sides, indicating that seven different people put their names on the vessel. These hausmarks probably do not represent the members of a household, but could very well relate to members of a guild. The saltcellar may have been on the table in the guildhall whenever its members met for a feast. The hausmarks showed who was allowed to take salt from this particular vessel during the meal.Several guilds are known from Medieval Odense, but only two of these can be traced back to the first half of the 14th century when this saltcellar was in use. These are the guild of St. Canute, the provision of which, dating from c. 1245, has been preserved, and the guild of St. Gertrude, mentioned in 1343.Mikael Manøe Bjerregaard & Maria Elisabeth LauridsenOdense Bys Museer
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Young, Sandra. "Envisioning the Peoples of ‘New’ Worlds: Early Modern Woodcut Images and the Inscription of Human Difference." English Studies in Africa 57, no. 1 (January 2, 2014): 33–54. http://dx.doi.org/10.1080/00138398.2014.916904.
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