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Journal articles on the topic 'Performing reliefs'

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Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2024

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1

Biegon, Glenn. "Stereoscopic Synergy: Twin-Relief Sculpture and Painting." Leonardo 38, no. 2 (April 2005): 93–100. http://dx.doi.org/10.1162/0024094053722354.

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Two accelerated-relief sculp-tures depicting the same scene from slightly different viewpoints can serve as sculpted stereo-scopic half-images—or “twin-reliefs.” Unlike traditional relief sculpture, which compresses sculptural space, twin-reliefs expand it, creating lifelike illusionistic depths. Viewed binocularly in a large Wheat-stone stereoscope, the twin-relief's virtual world appears colorful, atmospheric and life-size— even infinitely deep. Furthermore, unlike flat-picture stereoscopy, which allows just one undistorted, perspectively robust view, twin-reliefs provide infinitely many such views because, being sculptural, they “adapt” to the observer's movement. Twin-reliefs syner-gistically combine essential physical attributes previously separated between the domains of painting, sculpture and traditional flat-picture stereoscopy.

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2

Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

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3

Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

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4

Siregar, Syapar Alim. "Keringanan Dalam Hukum Islam." Jurnal el-Qanuniy: Jurnal Ilmu-Ilmu Kesyariahan dan Pranata Sosial 5, no. 2 (April 26, 2020): 284–97. http://dx.doi.org/10.24952/el-qonuniy.v5i2.2155.

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Do Muslims have relief in implementing Islamic law? answer, he, that is rukhshah. Rukhsah is the religiousness given by the Shari'a to a Muslim who fulfills his terms and conditions. For example, when a person on a trip he is entitled to the reliefs that have been given by Shara ', including praying or calling' prayers, breaking the fast during the day of Ramadan, sweeping khuf for three days, performing sunnah prayers on a vehicle, leaving Friday prayers 'at, eat the carcass when it is in dharurat.

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5

Handriyotopo, Handriyotopo. "Plaosan Temple Ornaments As Iconography Metaphorical Hindu-Buddhist Ideology." Harmonia: Journal of Arts Research and Education 22, no. 1 (July 1, 2022): 129–43. http://dx.doi.org/10.15294/harmonia.v22i1.33358.

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Plaosan Temple is a building structure filled with beautiful ornaments and decorations, reliefs, and statues. Therefore, this research aims to analyze the metaphorical aspect of symbolism in the Plaosan temple reliefs, which represent Hindu and Buddhist ideologies. It also aims to understand the iconographic meaning of this structure as a temple building that unites differences for a peaceful purpose. This is a qualitative descriptive and interpretative research with the “minus one” technique used to determine the effect of removing an element of the temple. The hermeneutic-metaphorical interpretive description was used to visualize the ornaments’ symbols and determine the philosophical meaning between the ideological domain of Hindu symbolism and Buddhism. The results showed that the manifestation of love from the Plaosan temple is indicated in its temple’s relief elements and decorated ornaments.

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6

Jannot, Jean-René. "Les reliefs de Chiusi." Mélanges de l'École française de Rome. Antiquité, no. 122-1 (September 15, 2010): 51–72. http://dx.doi.org/10.4000/mefra.334.

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7

Vaage, M. B. "Fictional reliefs and reality checks." Screen 54, no. 2 (June 1, 2013): 218–37. http://dx.doi.org/10.1093/screen/hjt004.

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8

Kahn, Deborah. "Recently Discovered Eleventh-Century Reliefs from Canterbury." Gesta 28, no. 1 (January 1989): 53–60. http://dx.doi.org/10.2307/767025.

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9

Smith, R. R. R. "Simulacra Gentium: the Ethne from the Sebasteion at Aphrodisias." Journal of Roman Studies 78 (November 1988): 50–77. http://dx.doi.org/10.2307/301450.

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Series of provinces and peoples were something new in Roman art. They were a distinctively Roman way of representing their empire visually, and reflect a distinctively Roman and imperial mode of thought. Such images are most familiar to us in sculpture from the reliefs that decorated the temple of Hadrian in Rome, and on coins from the ‘province’ series of Hadrian and Antoninus Pius. We know, however, from various written sources that extensive groups of personified peoples were made at Rome under Augustus. Recently, the discovery of such a series in relief at Aphrodisias, there called ethne (peoples), allows us for the first time to see what an early imperial group of this kind looked like. The new reliefs were part of the elaborate decoration of a temple complex, probably called a Sebasteion, dedicated to Aphrodite Prometor and the Julio-Claudian emperors. I have already published in this journal the reliefs with imperial scenes, which portray the Roman emperor from a Greek perspective. This article publishes the ethne reliefs which, it will be argued, set out to reproduce or adapt in a much more direct manner an Augustan monument in Rome. The use of an Augustan-style ‘province’ series in Asia Minor is a telling illustration both of some of the mechanisms in the transmission of imperial art and of a Greek city's identification with the Roman government's view of its empire.

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10

Slavov, Stoyan, Lyubomir Si Bao Van, Diyan Dimitrov, and Boris Nikolov. "An Approach for 3D Modeling of the Regular Relief Surface Topography Formed by a Ball Burnishing Process Using 2D Images and Measured Profilograms." Sensors 23, no. 13 (June 21, 2023): 5801. http://dx.doi.org/10.3390/s23135801.

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Advanced in the present paper is an innovative approach for three-dimensional modeling of the regular relief topography formed via a ball burnishing process. The proposed methodology involves capturing a greyscale image of and profile measuring the surface topography in two perpendicular directions using a stylus method. A specially developed algorithm further identifies the best match between the measured profile segment and a row or column from the captured topography image by carrying out a signal correlation assessment based on an appropriate similarity metric. To ensure accurate scaling, the image pixel grey levels are scaled with a factor calculated as being the larger ratio between the ultimate heights of the measured profilograms and the more perfectly matched image row/column. Nine different similarity metrics were tested to determine the best performing model. The developed approach was evaluated for eight distinct types of fully and partially regular reliefs, and the results reveal that the best-scaled 3D topography models are produced for the fully regular reliefs with much greater heights. Following a thorough analysis of the results obtained, at the end of the paper, we draw some conclusions and discuss potential future work.

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11

Pradoko, Susilo, Maria Goretti Widyastuti, Fu’adi Fu’adi, and Birul Walidaini. "8Th Century Musical Instrument on Kalasan Temple’s Relief." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 115–22. http://dx.doi.org/10.15294/harmonia.v21i1.28530.

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This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky’s iconology analysis in three steps, which are pre-iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the head of Kala; (2) the musical instruments on the head are two wind instruments made of shells and a stringed instrument named vina; (3) there are two figures of musicians carved, which are two wind instruments players and a player of stringed instruments. The figures are depicted as heavenly creatures named Gandharva; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. Meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the Goddess of Tara.

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12

Zagdoun, Mary-Anne. "Autour de quelques reliefs néo-attiques." Revue des Études Anciennes 95, no. 1 (1993): 235–46. http://dx.doi.org/10.3406/rea.1993.4530.

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13

Jo, Choonghyun. "Dizang and the Ten Kings in Niche No. 73 at Yuanjue Grottoes, Anyue: An Iconographical Reassessment." Korean Journal of Art History 320 (December 31, 2023): 99–128. http://dx.doi.org/10.31065/kjah.320.202312.004.

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Dizang and the Ten Kings in Niche no. 73, at Yuanjue Grottoes in Anyue, Ziyang, has been considered one of the most famous transformation tableaux of hell (<i>diyu bianxiang</i>) in the Sichuan Basin since it was first introduced by the local scholars in the 1980s. At the time, it was suggested that some relief-scenes in the niche, especially the central figure and its lower part, illustrate the story of Mulian, and this hypothesis continues to be occasionally cited in the academic literature to this day. However, my reexamination of the relief-scenes and related visual and literary materials reveals that the previous discussions on the niche must be reconsidered. In this paper I argue that the arrangement program of the reliefs in the niche follows the typical iconography of Dizang and the Ten Kings, which places Dizang in the center, with the Ten Kings surrounding the bodhisattva in a symmetric composition. In addition, on the bottom left of the main wall are the dead suffering at the court of Yanluo wang, and on the right are those who were saved from the fate of the three evil destinies (<i>san edao</i>) at the court of Wudao zhuanlun wang. There are no evidences of the hell and/or Mulian story in the niche. It seems likely that previous studies misidentified the relief-scenes of the two kings' courts with punishment in hell and made a loosen connection between the reliefs and the story of Mulian without further scrutiny of text and image.

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14

Taylor, Laurel. "Performing the Prothesis: Gender, Gesture, Ritual and Role on the Chiusine Reliefs from Archaic Etruria." Etruscan Studies 17, no. 1 (January 31, 2014): 1–27. http://dx.doi.org/10.1515/etst-2014-0007.

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15

MEHR KIAN, Jafa. "Trois bas-reliefs parthes dans les monts Bakhtiaris." Iranica Antiqua 36 (January 1, 2001): 293–98. http://dx.doi.org/10.2143/ia.36.0.109.

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16

Isgro, Marina. "Modernism in Motion: Jean Tinguely’s Meta-Mechanical Reliefs, 1954–59." Art Journal 79, no. 2 (April 2, 2020): 6–23. http://dx.doi.org/10.1080/00043249.2020.1765550.

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17

Egerton, Karl. "Player Engagement with Games: Formal Reliefs and Representation Checks." Journal of Aesthetics and Art Criticism 80, no. 1 (October 29, 2021): 95–104. http://dx.doi.org/10.1093/jaac/kpab058.

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Abstract Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way.

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18

Weifang, Li. "Soft Law in Promoting the Return of Zhaoling Two Steeds in Tang Dynasty." Santander Art and Culture Law Review, no. 2 (6) (2020): 293–312. http://dx.doi.org/10.4467/2450050xsnr.20.021.13024.

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It is generally accepted that stolen cultural objects shall be returned, but it is still a more complex and comparatively ambiguous matter when it comes to solving cases left over by history. The Six Stone Horse Reliefs are one of the most influential works of art in Chinese history, but unfortunately the beginning of 20th century witnessed the political and social upheaval of China, which resulted not only in people’s suffering but also in the loss of the cultural relics. The Six Stone Horse Reliefs were stolen and broken in China. Two of the six stone horses, called Sa Luzi and Quan Maogua, were illegally shipped to the United States and today are exhibited at the University Museum of Pennsylvania. While referring to the example of the Six Stone Horse Reliefs, this article puts forward the argument for using soft-law instruments to break through the shortcomings of existing international treaties and the limitations of domestic law.

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19

Tamás, Magdus. "Megjegyzések az Ara Pacis Tellus-Panelje Központi Alakjának Azonosításához." Antik Tanulmányok 64, no. 2 (November 18, 2020): 149–67. http://dx.doi.org/10.1556/092.2020.00012.

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Az ókori római művészettörténet egyik leggyakrabban vizsgált műalkotása az Ara Pacis Augustae. Az avatatlan szem egy kiválóan formált, részletes, domborművek sokaságát felvonultató, páratlan műalkotást lát, azonban a történettudomány és a különböző társtudományok ezen apró részletekből az Augustus-kor kiváló lenyomatát tudják nyújtani. Az Ara Pacis reliefj einek részletgazdagsága miatt mind a római politikatörténet, mind a vallás- és eszmetörténet kutatásának kiváló forrása. Jelen tanulmány elsődleges célja állást foglalni az ikonográﬁai sajátosságok és a szakirodalom segítségével abban a kérdésben, hogy ki a panel főalakja.Ara Pacis Augustae is the most frequently studied work of art in the ancient Roman history of art. The uninitiated eye sees an exquisitely crafted, detailed, multitude of reliefs, a unique work of art, but history and diﬀerent collaborative sciences can render an excellent imprint of Augustus era from these tiny details. Owing to the Ara Pacis’ chiselled reliefs, it is an excellent source for political history, history of religion, and ideology. The aim of this study is to take sides in the question of who is the main ﬁgure of the panel by dint of the iconographic features and recent literature.

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20

JAMZADEH, P. "The Apadana Stairway Reliefs and the Metaphor of Conquest." Iranica Antiqua 27 (December 1, 1992): 125–47. http://dx.doi.org/10.2143/ia.27.0.2002129.

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21

Kustianti, Dyah, Suminto Suminto, and I. Wayan Sutirtha. "The Manifestation of Kuntisraya Story in Ethnic." Randwick International of Social Science Journal 4, no. 1 (January 31, 2023): 168–78. http://dx.doi.org/10.47175/rissj.v4i1.631.

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The purpose of writing this article is to discover the manifestations of the Kuntisraya story in works of arts in Indonesia. In general, Kuntisraya stories can be found in ancient Javanese literary works. In particular, it turns out that there are works of art, design, and ethnic performing arts in Indonesia that are realized based on the Kuntisraya story. The problems are : 1) What is the form of the manifestation of the Kuntisraya story in works of art and design?; 2) What is the form of the manifestation of the Kuntisraya story in ethnic performing arts?. This research was conducted with qualitative methods. Observations and interviews have been used to obtain primary data. The results of the literature study have been used as secondary data. All data has been analyzed qualitatively using aesthetic and reception theories. The results of the study show that : 1) manifestations of the Kuntisraya story exist in works of art and designs in the form of architectural reliefs of temples; and 2) manifestations of the Kuntisraya story exist in performing arts in the form of sacred performing arts and tourism performing arts.

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22

Smith, R. R. R. "The Imperial Reliefs from the Sebasteion at Aphrodisias." Journal of Roman Studies 77 (November 1987): 88–138. http://dx.doi.org/10.2307/300577.

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In 1979, during his continuing excavation of the city of Aphrodisias, Professor K. T. Erim discovered a large temple and sanctuary complex dedicated to Aphrodite and the Julio-Claudian emperors (theTheoi Sebastoi). It had a remarkable sculptural display of which much has survived—there are about eighty relief panels. The complex would probably have been called a Sebasteion: we know from an unrelated inscription that there was one at Aphrodisias. It is of great interest to both the historian and art-historian of the early empire, giving a rare combination of buildings, sculpture, and inscriptions from a unified excavated context and providing an unrivalled picture of the physical setting of the imperial cult in a Greek city. The sculptured reliefs give a great range and combination of iconography quite unexpected in such a context—mythological, allegorical, and imperial. The myth panels seem to offer a missing link between the iconographic repertoire of the Hellenistic world and that used under the Roman empire, while the allegorical and imperial panels give a detailed plcture of the emperor and Rome as seen from the Greek East that is not available elsewhere.

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23

Castelluccia, Manuel. "Iranian Reliefs through the Eyes of Western Travelers (14th–19th Centuries)." Actual Problems of Theory and History of Art 11 (2021): 203–14. http://dx.doi.org/10.18688/aa2111-01-17.

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24

Rosen, Mark. "The Republic at Work: S. Marco's Reliefs of the Venetian Trades." Art Bulletin 90, no. 1 (March 2008): 54–75. http://dx.doi.org/10.1080/00043079.2008.10786382.

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25

Ostrow, Steven F. "Playing with the Paragone: The Reliefs of Pietro Bernini: For Rudolf Preimesberger." Zeitschrift für Kunstgeschichte 67, no. 3 (January 1, 2004): 329. http://dx.doi.org/10.2307/20474255.

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26

Ando, Mihoko, and Patrick H. Fleming. "A Study of Alvar Aalto’s Wood Reliefs for Furniture and Architectural Design." Journal of Design History 32, no. 2 (December 4, 2018): 146–69. http://dx.doi.org/10.1093/jdh/epy042.

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27

Swenson, Kirsten. ""Like War Equipment. With Teeth": Lee Bontecou's Steel-and-Canvas Reliefs." American Art 17, no. 3 (October 2003): 72–81. http://dx.doi.org/10.1086/444625.

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28

DE WAELE, E. "Les trois reliefs rupestres de Pol-e Abguineh près de Kazerun." Iranica Antiqua 21 (January 1, 1986): 167–88. http://dx.doi.org/10.2143/ia.21.0.2014075.

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29

KAIM, Barbara. "Bone Reliefs from Fire Temple at Mele Hairam, South-West Turkmenistan." Iranica Antiqua 45 (June 30, 2010): 321–35. http://dx.doi.org/10.2143/ia.45.0.2047124.

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30

Griffiths, Arlo, Marine Schoettel, and Margaux Tran Quyet Chinh. "Les bas-reliefs du Rāmāyaņa de la tour sud de Khương Mỹ." Arts asiatiques 72, no. 1 (2017): 17–38. http://dx.doi.org/10.3406/arasi.2017.1961.

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31

GROPP, Gerd. "Die Darstellung der 23 Völker auf den Reliefs des Apadana von Persepolis." Iranica Antiqua 44 (June 30, 2009): 283–359. http://dx.doi.org/10.2143/ia.44.0.2034381.

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32

Buluç, Sevim. "THE ARCHITECTURAL USE OF THE ANIMAL AND KYBELE RELIEFS FOUND IN ANKARA AND ITS VICINITY." Source: Notes in the History of Art 7, no. 3/4 (April 1988): 16–23. http://dx.doi.org/10.1086/sou.7.3_4.23202657.

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33

LEVIT-TAWIL, D. "Re-dating the Sasanian Reliefs a Tang-e Qandil and Barm-e Dilak." Iranica Antiqua 28 (January 1, 1993): 141–68. http://dx.doi.org/10.2143/ia.28.0.2002117.

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34

Mudra, Aleš. "Reliefs depicting the Virgin, founders and patrons from the convent of St. George at Prague Castle." Umění 71, no. 3 (2023): 216–34. http://dx.doi.org/10.54759/art-2023-0301.

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35

Mack, William. "VOX POPULI, VOX DEORUM? ATHENIAN DOCUMENT RELIEFS AND THE THEOLOGIES OF PUBLIC INSCRIPTION." Annual of the British School at Athens 113 (November 2018): 365–98. http://dx.doi.org/10.1017/s0068245418000072.

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This article argues that, by concentrating on a reading of the depictions of deities on the Athenian document reliefs as symbolic representations of states rather than as divinities, previous scholarly approaches to them have failed to explore the role they ascribe to the gods in collective decision-making and the exercise of public authority. This article resituates the interpretation of these monuments in the context of other monuments depicting the gods and recent approaches to them, and the other ways in which public inscriptions, both at Athens and elsewhere, make reference to divine actors, through their erection in sacred spaces and the use of thetheoiheading. It then examines the range of possible readings of the relationship between divine agency and political decision-making which these monuments privilege and argues that they reflect a conventional understanding that, in general, Athenian decision-making was underpinned by the gods.

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36

Zagdoun, Mary-Anne. "Bulletin archéologique : la Sculpture, les Reliefs hellénistiques, avec une note liminaire de François Chamoux." Revue des Études Grecques 101, no. 480 (1988): 113–69. http://dx.doi.org/10.3406/reg.1988.1530.

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37

Gaifman, Milette. "Visualized rituals and dedicatory inscriptions on votive offerings to the nymphs." Opuscula. Annual of the Swedish Institutes at Athens and Rome 1 (November 2008): 85–103. http://dx.doi.org/10.30549/opathrom-01-07.

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This article explores the religious meaning of Archaic and Classical dedications with images of rituals (e.g. sacrificial procession, libation) and dedicatory inscriptions. I argue that these objects ought to be treated as meaningful expressions of individuals’ piety rather than as reflections of actual cult practices. I adopt a holistic approach that considers the two components of dedications—images and texts—as inextricably intertwined in the creation of meaning. The argument is exemplified through the examination of dedications to the Nymphs: the so-called Pitsá tablet, Archandros’ relief from the Athenian Asklepieion, and two reliefs from a cave at Penteli. The detailed analysis of images, inscriptions, and their juxtaposition reveals how these dedications made the devotion of named individuals perpetual at a specific site, and shaped the manner in which the sacred was to be envisioned. Art and text together marked the site of deposition as a place of worship of the Nymphs, articulated specific ideas regarding rituals, the nature of the goddesses and their companions Pan and Hermes, and the possibilities for human interaction with these divinities. In rendering individual devotion continuous, these dedications confirmed the inexistence of such visualized rituals in reality. They elided and asserted the divide between the real and the imaginary in Greek religion.

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Napoli, Joëlle. "La stèle des saccarii iuvenes de Dyrrachium: une nouvelle figure de docker." Revue des Études Anciennes 119, no. 1 (2017): 85–97. http://dx.doi.org/10.3406/rea.2017.6821.

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Les reliefs et les fresques portuaires de Rome et d’Ostie ont livré maints témoignages de dockers chargeant et déchargeant les navires hauturiers ou les navires du Tibre et pliant le dos sous le poids des sacs de céréales ou des amphores à vin. Mais aucun d’eux n’arbore le récipient ni les accessoires représentés sur la stèle des saccarii iuvenes de Dyrrachium. L’objectif de ce travail est de tenter d’identifier ces instruments, la fonction à laquelle ils étaient liés et de comprendre quelle pouvait être la spécialité de ce nouveau docker.

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Dirven, Lucinda. "Reliefs of a religious character from Lebanon - ZEINA FANI ALPI, DÉVOTIONS LAPIDAIRES: RELIEFS DIVINS DU LIBAN ROMAIN (Bulletin d’Archéologie et d’Architecture libanaises hors-série XI; Beyrouth2016). Pp. 344, figs. 406. ISSN 1683-0083. 30,000 L.L." Journal of Roman Archaeology 31 (2018): 953–55. http://dx.doi.org/10.1017/s1047759418002271.

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Hidajat, Robby, Pujiyanto Pujiyanto, Tri Wahyuningtyas, and Muhammad Afaf Hasyimy. "Transformasi Fungsi Penutup Kepala Berbahan Kain sebagai Media Identifikasi Identitas Masyarakat dalam Aktivitas Seni Pertunjukan di Malang Raya." Journal of Education, Humaniora and Social Sciences (JEHSS) 6, no. 2 (November 18, 2023): 640–47. http://dx.doi.org/10.34007/jehss.v6i2.1922.

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This article explains the transformation of the function of cloth head coverings to identify people's identities in performing arts activities in Malang Raya. These cloth head coverings have types, shapes and techniques for wearing them, as well as meanings that determine the ethics of their use. This complexity is to be able to reveal the transformation of its use function in the artistic activity environment. Because the use of cloth head coverings has never been used to identify the social identity of people in greater Malang. This is the aim of this research, namely to reveal and explain the function of cloth head coverings used in artistic activities. The research method used is descriptive qualitative with data collection techniques in the form of interviews with key informants who are competent in the field of performing arts, observing the activities of wearing cloth head coverings used by the community in arts activities, and reviewing documents, in the form of pictures, photos or reliefs on temples. -temple. Data analysis uses the theory of continuity and change, symbolic interactional, and functional structure. The research results found two important factors that can indicate the social identity of the people of Malang Raya as follows: (1) Social status, (2) Symbolic, (3) and Spiritual.

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Arab, Walid Shaikh Al. "Mekes – Creating an Imagery of Kingship and Transmission of power in Ancient Egypt." Zeitschrift für Ägyptische Sprache und Altertumskunde 149, no. 2 (October 27, 2022): 253–73. http://dx.doi.org/10.1515/zaes-2019-0028.

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Summary The mekes was an important element of the royal ceremonial regalia. Started from the reign of the First Dynasty’s pharaoh Den (2914—2867 BC), the mekes was frequently depicted in reliefs, where the pharaoh grasps it in his raised left hand with the -flail in the other, while performing a ritual race during his coronation’s ceremonies. The aim of the present article is to build upon the analysis included in previous studies, to propose an accurate translation for this object and its meaning, and to demonstrate its political and socio-religious connotations communicated by its iconography. After a survey of previous studies, the question of its name will be briefly tackled, and an analysis of its attestations will be presented. However, given the largess of potential data sources, we have delimited the survey to the inscriptions of Edfu temple as a sample to the Ptolemaic and Roman temples.

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Cavalier, Laurence. "Observations sur l’architecture de Xanthos à l’époque archaïque." Revue des Études Anciennes 108, no. 1 (2006): 327–54. http://dx.doi.org/10.3406/rea.2006.6501.

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À partir des résultats des fouilles anciennes et des trouvailles récentes de la mission archéologique de Xanthos, l’auteur présente une synthèse sur l’architecture de la ville à l’époque archaïque. L’étude des techniques de construction permet de dégager les caractéristiques de l’architecture xanthienne à l’époque envisagée. Les édifices archaïques de la ville restent dans la tradition anatolienne, sans emprunt notable au monde grec. La question d’une influence néo-hittite se pose à propos de l’utilisation des orthostates dans les bâtiments, mais aussi en ce qui concerne les bas-reliefs sculptés découverts récemment dans le secteur est de la ville.

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Debby, Nirit Ben-Aryeh. "Giambologna's Salviati reliefs of St Antoninus of Florence: saintly images and political manipulation." Renaissance Studies 22, no. 2 (April 2008): 197–220. http://dx.doi.org/10.1111/j.1477-4658.2008.00487.x.

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Weilandt, Gerhard, Stefan Breitling, and Anna Nöbauer. "Liturgischer Alltag auf einer Großbaustelle des 13. Jahrhunderts: Zur Funktion einiger Konsolen in den Seitenschiffen des Bamberger Domes." Zeitschrift für Kunstgeschichte 84, no. 2 (June 1, 2021): 181–200. http://dx.doi.org/10.1515/zkg-2021-2002.

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Abstract This article, which is the result of a cooperation between building archaeologists and a historian of art and liturgy, sheds light on the original function of the stone consoles in the eastern aisles of Bamberg Cathedral, on which the most famous medieval sculptures now stand, including the Bamberg Rider. They date from the time of the building phase shortly after 1201–1202, when the western part of the Ottonian predecessor building was still in use, while in the east the new choir was under construction. A wall separated the two parts, in which openings were inserted. The consoles did not originally serve as sculpture bases, but as supports for weather protection for processions, as a partition wall in front of the fragile choir screen reliefs, and as a platform for ongoing work in the zones above. Only later were the consoles adopted for sculptures and provided with decorative painting, remnants of which are still preserved today.

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Johnson, Geraldine A. "Approaching the Altar: Donatello's Sculpture in the Santo*." Renaissance Quarterly 52, no. 3 (1999): 626–66. http://dx.doi.org/10.2307/2901914.

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AbstractDonatello designed a lavish high altar for the Santo (S. Antonio) in Padua in the 1440s. This article considers how the interests and concerns of the altar's original beholders may have affected its design and reception. Specifically, pilgrims drawn to the Santo by Saint Anthony's tomb probably would have been impressed by the altar's general magnificence; elite Paduan citizens may have been most interested in the civic associations of the statues displayed on the altar; and the Santos Conventual Franciscan friars may well have interpreted the Antonine narrative reliefs and the altar's overall splendor in light of their growing rivalry with Observant Franciscans.

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Nalimova, Nadezhda A., and Arina A. Korzun. "Reliefs of the Phaedrus Bema in the Theatre of Dionysus in Athens: Reflections on Original Destination and Sources of Inspiration." Actual Problems of Theory and History of Art 13 (2023): 125–36. http://dx.doi.org/10.18688/aa2313-1-11.

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Cho, Yong. "Juyong Gate." Archives of Asian Art 72, no. 2 (October 1, 2022): 221–53. http://dx.doi.org/10.1215/00666637-9953443.

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Abstract In 1345 the Mongol ruling house of the Yuan (1271–1368) built Juyong Gate along China's Great Wall. The gate stood on a road connecting the empire's twin capitals, Dadu and Shangdu. Those two cities possessed vastly different built environments. Dadu, the emperor's winter residence, evoked the tradition of Chinese imperial-city building. It provided the ruler with wooden and stone buildings laid out on an orthogonal grid. Shangdu, the emperor's summer residence, delivered a space for grassland containing pastures, where the ruler could set up collapsible tents filled with wall hangings. In other words, the seasonal movement between the two capitals entailed a shift in the habit of seeing and visual representation. To reflect that shift, Juyong Gate's passageway was carved with imagery that could simultaneously belong to the two visual worlds: planar reliefs that could be perceived as both stone carvings and wall hangings. Juyong Gate thus became a site where two major visual systems in constant negotiation in the Mongols' China could come together and coexist as one.

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Shear, Julia L. "Atarbos' base and the Panathenaia." Journal of Hellenic Studies 123 (November 2003): 164–80. http://dx.doi.org/10.2307/3246265.

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AbstractRe-examination of the well-known Atarbos base in the Akropolis Museum shows that the monument had two distinct phases which have generally been ignored in previous discussions: it originally consisted of a pillar supported by the extant right block decorated with the relief ofpurrhikhistai; subsequently, the pillar was removed, the base was doubled in size, and three bronze statues were erected. Close examination of the remains and the style of the reliefs indicates that the original period dates to 323/2 BC with the second phase following within a year. In light of this chronology, the prosopography of the family is reviewed and new restorations are suggested for the base's inscriptions. In its first phase, the monument belonged to a newly identified series of memorials consisting of rectangular bases with pillars supporting either a relief or a Panathenaic amphora. Such structures commemorated victories in various tribal events of the Panathenaia and were set up both by individuals and by tribes. The earliest known example appears in a vase painting ofc.430-420 and the type continued to be used until at least 323/2. The identification of this series also provides further evidence for history of thepurrhikhē, the cyclic chorus, theanthippasia, and the apobatic race at the Panathenaia, as well as the identities of specific victors in these contests.

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Sence, Guillaume. "Dur-Sharrukin : le portrait de Sargon II. Essai d’analyse structuraliste des bas-reliefs du palais découvert à Khorsabad." Revue des Études Anciennes 109, no. 2 (2007): 429–47. http://dx.doi.org/10.3406/rea.2007.6549.

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Les sculptures en bas-relief néo-assyriennes du palais de Sargon II à Dur-Sharmkin forment, lorsqu’elles sont étudiées dans leur contexte architectural et dans leur ensemble, un portrait idéologique du roi mis en scène sur les murs du palais.

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Jacobs, Ine. "Old statues, new meanings. Literary, epigraphic and archaeological evidence for Christian reidentification of statuary." Byzantinische Zeitschrift 113, no. 3 (August 1, 2020): 789–836. http://dx.doi.org/10.1515/bz-2020-0035.

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AbstractThis article examines literary, epigraphic and archaeological evidence for the Christian reidentification of statuary and reliefs as biblical scenes and protagonists, saints and angels. It argues that Christian identifications were promulgated, amongst others by local bishops, to make sense of imagery of which the original identity had been lost and/or was no longer meaningful. Three conditions for a new identification are discussed: the absence of an epigraphic label, geographical and/or chronological distance separating the statue from its original context of display, and the presence of a specific attribute or characteristic that could become the prompt for reidentification. In their manipulation and modernization of older statuary, Christians showed a much greater appreciation of the statuary medium than generally assumed.

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