Dissertations / Theses on the topic 'Persian Illumination of books and manuscripts'
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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.
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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.
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Rodrigues, Ubirajara Alencar 1966. "O colar perdido da caligrafia." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251132.
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Orientador: Milton Jose de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes.
Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Drechsler, Stefan Andreas. "Making manuscripts at Helgafell in the fourteenth century." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236533.
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This thesis examines a cultural revolution that took place in the Icelandic artistic landscape during the medieval period. Within just one generation (c. 1350–1400), the house of canons regular of Helgafell rose to become the most important centre of illuminated manuscript production in western Iceland. This study delivers a comprehensive and critical multidisciplinary study that combines methodologies and sources from the fields of Art History, Old Norse-Icelandic Manuscript Studies and Medieval Nordic History. It maps important changes in the art historical market, as well as major movements of ideas between three distinct manuscript cultures: from Helgafell in Iceland, Norwich and surrounding East Anglia in England, and the region between Bergen and Trondheim in Western Norway. By conducting cross-disciplinary research, the philological and historical data, combined with a sound social network analysis methodology, this study presents a comprehensive approach that respects both the historical setting of the illuminated manuscript production and the products themselves. It thereby contributes to a new and multidisciplinary area of research that studies not only one but several western European cultures in relation to similar domestic artistic monuments and relevant historical evidence. By using the interdisciplinary approach outlined above, it offers a detailed perspective of one cultural site – Helgafell – in particular in regard to its artistic connections to other ecclesiastical and secular scriptoria in the broader North Atlantic region.
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Hunt, Elizabeth Moore. "Illuminating the borders of northern French and Flemish manuscripts, ca. 1270-1310 /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137712.
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Sheppard, Jennifer M. "The Giffard Bible Bodleian Library MS Laud misc. 752 /." New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/11970124.html.
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Magruder, James A. "The Sinope gospels an illuminated gospel book as anti-Chalcedonian polemic /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Gil, Marc. "Du Maître du Mansel au Maître de Rambures le milieu des peintres et des enlumineurs de Picardie, ca. 1400-1480 /." Lille : A.N.R.T., Université de Lille III, 2000. http://bibpurl.oclc.org/web/30345.
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Baker, Donna Tsuruda. "The artistic and sociological imagery of the merchant-banker on the book covers of the Biccherna in Siena in the early Renaissance /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6244.
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Pulliam, Heather. "Opening the senses : the Gospel book as an instrument of salvation as articulated by the minor decoration and full-page illustrations of the Book of Kells." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15322.
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This thesis argues that the minor decoration and full-page images of the Book of Kells reflects a cohesive theme: the role of the gospel book in man's apprehension of God. This is demonstrated by an examination of the decorated initials and smaller images in relation to the text and a reinterpretation of the full-page images within the context of patristic commentary and the writings of the period. It is argued that the decorated initials and minor imagery are not merely ornamental but instead emphasize and comment upon the text. They do so in three ways: Firstly, they draw the eye to passages of gospel text that describe the visual apprehension and recognition of Christ as the Son of God. In demonstrating this, the assumption that the decorated initials operate in a traditional manner, such as marking lections or Eusebian sections, is rejected. The atypical function of the decoration, highlighting themes rather than liturgical or content divisions, indicates the unique function of the manuscript. Secondly, it is argued that the decorated initials employ the metaphorical imagery of the Psalms to describe the distinction between the manuscript's audience who acknowledge Christ as the Son of God, and those described within the text as confused and unable to recognize the identity of Christ despite his presence in their midst. Thirdly, the imagery of the decorated initials describes the manner in which the Godhead is literally contained within the text of the gospel book. The larger images also emphasize the recognition of Christ and distinguish between those who look to the Word of God and those who fail to do so. Additionally, the full-page imagery instructs the audience in the use of the manuscript. To an even greater extent than the minor decoration, the larger images articulate the role of the Gospel book and liturgy as a visible guide to an invisible deity and shield against temptation.
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Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : 'n resepsie-historiese studie van tonele in Aeneïs VI /." Link to the online version, 2006. http://hdl.handle.net/10019.1/1690.
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Franses, Henri. "Portraits of patrons in Byzantine religious manuscripts." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22359.
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Byzantine religious manuscripts were commissioned by people from many levels of society. Several contain portraits of their commissioners, represented together with a holy figure. An analysis of these scenes, examining features such as the holy figures represented and their specific iconographic meaning, and the relation of mortal to divine, reveals many facets of Byzantine art, religion and society. This analysis indicates a major distinction between portraits representing the emperor, and those depicting all other patrons. Non-imperial portraits show deep personal devotion and piety. The manuscripts in which they occur were commissioned to honour the holy figure, and many request salvation in return. Imperial commissions, on the other hand, were not votive gifts. Their portraits stress the public, political, and occasionally religious role of the emperor as the elected of God upon earth, and head of state. These portraits are thus highly informative of several aspects of Byzantine life.
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Ensor, Lael J. "Decoration in early Qur'an manuscripts: A close look at the Walters Art Museum's W.554." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 56 p, 2009. http://proquest.umi.com/pqdweb?did=1885754571&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Cochrane, Laura E. "'Where there is no time' the quadrivium and images of eternity in three eleventh-century Anglo-Saxon manuscripts /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 250 p, 2009. http://proquest.umi.com/pqdweb?did=1818417331&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Hansen, Kelli Bruce. "The Cross of Oviedo in medieval Spanish art /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418028.
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Roth, Paul. "Histoire de la première destruction de Troie (manuscrits Paris, Bibliothèque de l'Aresenal, 5068 Paris, Bibliothèque nationale, fr. 1414 et 1417) : edition critique avec introduction, notes, table des noms et glossaire /." Tübingen : A. Francke, 2000. http://catalog.hathitrust.org/api/volumes/oclc/44835722.html.
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Rettig, Simon. "La production manuscrite à Chiraz sous les Aq Qoyunlu entre 1467 et 1503." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10196.
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La production de copies littéraires connaît un important développement à Chirâz en Iran sous la dynastie des Turkmènes Aq Qoyyûnlû entre 1467 et 1503. Peut-on cerner des caractéristiques de cette production ? Se différencie-t-elle de celles d’autres centres contemporains, notamment Tabrîz et Hérât ? En examinant un corpus de soixante manuscrits datés, cette étude vise à analyser les différentes composantes du codex de Chirâz (papier, mise en page et réglure, écritures, reliure, …) ainsi que les décors (enluminures et illustrations) mis en œuvre afin d’en dégager les spécificités. Héritiers de la tradition de livres décorés timourides, des artisans du livre deviennent les experts de ce qu’il convient une production en série d’items finement calligraphiés, toujours enluminés et souvent ornés d’illustrations. La présente étude permet de montrer l’évolution d’une production de cour à une conception de copies par des ateliers privés, à un moment où la gestion du pouvoir passe d’un système princier à un gouvernorat de généraux turkmènes vers 1480. Cette période est alors marquée par des changements visuels importants, notamment l’usage d’un style particulier d’écriture nasta‘lîq, employé par les copistes de la ville, des formes d’enluminures stéréotypées, ainsi que l’emploi de styles de peintures qualifiés de « commerciaux ». Il en résulte une forte identité visuelle des manuscrits réalisés à Chirâz dans le dernier tiers du XVe siècle, qui sont largement exportés à travers le monde iranien. La pérennité sera assurée au cours du siècle suivant sous la dynastie safavide par les mêmes familles d’artisans, mais aussi sur une plus grande échelle, dans le domaine ottoman notammentThe production of belletristic copies encountered an important development in the city of Shiraz in Iran between 1467 and 1503. Is it possible to determine characteristics of this production? Are differences visible with manuscripts made in other centres, such as Tabriz and Herat? By examining a corpus of sixty dated manuscripts, this study aims to analyse the physical components of the Shiraz codex (paper, layout and ruling, binding…) as well as decorations (illuminations and illustrations) in order to identify specificities.The book craftsmen inherited their skills and the styles they use from the former Timurid period. They specialized in a mass production of neatly copied items, always adorned with illuminations, and often illustrated. The present research underlines the interactions between this manuscript production and the historical events in Shiraz, in a time when the governorate of Turkmen generals replaced the rule of the prince. The transfer of production from the court atelier to private workshops echoes this change of power. At the same time profound visual changes distinguish the book production, notably a peculiar writing style of nasta‘lîq, only used by Shiraz copyists, as well as stereotyped forms of illuminations and various “commercial” styles of paintings.As a result, a strong visual identity characterises the Chiraz manuscripts. As they were exported to various parts of the Persianate sphere, they had a strong impact on local productions, notably in the Ottoman realm. Furthermore, the same artisans families in Shiraz ensured the permanency of Aq Qoyyunlu models in the first third of the 16th century under the Safavid dynasty
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Liles, Linda Kathleen. "Guide to the pilgrim churches at Rome a late 15th century manuscript in Yale University's Beinecke Rare Book and Manuscript Library /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
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Naughton, Joan Margaret. "Manuscripts from the Dominican monastery of Saint-Louis de Poissy /." Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00000680.
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Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : ’n resepsie-historiese studie van tonele in Aeneïs VI." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1690.
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Thesis (MA (Dept. of Ancient Studies) -- University of Stellenbosch, 2005.Throughout the centuries artists have visualised the imaginative works of Publius Vergilius Maro in a variety of art forms. Paintings, frescoes, sculptures and even tapestries have made the wordscenes of his great epic, the Aeneid, concrete. The thesis investigates only the illustration of the epic in manuscripts and printed texts or translations. The illustrations of scenes in Book VI – the journey of Aeneas in the underworld – are studied using the reception-historical approach. This is to determine whether the illustrations of the Trojan hero’s journey in the underworld reflect the reception of the Aeneid in the different eras or periods. The illustrator is a “reader” of the Aeneid text or translation and consequently his/her illustration of a particular scene reflects his/her own visual interpretation thereof. Illustrations of Book VI in manuscripts like the Vergilius Vaticanus of late Antiquity and the mid- 15th century Riccardiana Vergilius of Apollonio di Giovanni are examined. A study of illustrations in printed texts or translations range from the 1502 Grüninger edition of Vergil edited by Sebastian Brant to the Book VI illustration of Thom Kapheim in a textbook published in 2001. The aim is to establish how illustrators associated with Book VI, interpreted it, how their environment and the spirit of the age influenced their visualisation and how their illustrations reflect the reception of the epic throughout the centuries. Such a study hopes to provide a contribution to Vergilian reception and Nachleben. In the process a better understanding can be obtained for the importance and changing role of Aeneid VI and the whole epic in different eras. It is found that the illustrators of the Aeneid – influenced by the different spirit of their times and environments – brought forth unique visual interpretations of scenes in Book VI that suggest a particular reception of the epic at that specific point of time. The illustrative spectrum of Book VI throughout the centuries can be summarised as follows: revival, allegorisation, pedagogic, realistic decoration and eventually increasingly unrealistic decoration. From late Antiquity to the beginning of the 21st century, the illustrative visualisation of the journey of Aeneas in the underworld indicates that there has always been a definitive response to Vergil and his epic.
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Dufresne, Laura Jean. "An assembly of ladies : the fifteenth-century pictorial tradition of Christine de Pizan's La cité des dames and Le trésor de la cité des dames /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/6238.
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Hoffmann, Ingrid-Sibylle. "Der Meister der Pollinger Tafeln : Wege der Erneuerung in der bayerischen Malerei des mittleren 15. Jahrhunderts /." Weimar : VDG Verl. und Datenbank für Geisteswissenschaften, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929787&prov=M&dokv̲ar=1&doke̲xt=htm.
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Spyra, Ulrike. "Das "Buch der Natur" Konrads von Megenberg die illustrierten Handschriften und Inkunabeln /." Köln : Böhlau, 2005. http://books.google.com/books?id=LuXaAAAAMAAJ.
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Williams, Kenneth R. "The De Villers Book of Hours." DigitalCommons@USU, 1996. https://digitalcommons.usu.edu/etd/182.
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Created in France during the late fifteenth century, the illuminations, text, and family genealogy (added by one of many owners) found in De Villers Book of Hours make it an excellent example among other French books of hours from this period. In addition to acting as a repository of the style and iconography of French fifteenth-century illumination, the book's rich decorative program and varied textual content provide a remarkable document of contemporary devotional piety. This thesis provides the first detailed description and analysis of the De Villers Book of Hours. Following a description of books of hours in general, the overall makeup of the De Villers Hours is addressed, including the decorative program with a suggested method and example for description, a sample of textual transcription, comments on the provenance, a brief discussion of the family genealogy, and a concluding section with a sample collection register and worksheet for cataloging.
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Silva, Rocha Jorge Manuel Gomes da. "L'Image dans le Beatus de Lorvão: figuration, composition et visualité dans les enluminures du Commentaire de l'Apocalypse attribué au scriptorium du monastère de São Mamede de Lorvão-1189." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210535.
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L’Apocalypse de Lorvão appartient au cycle des commentaires illustrés de la vision de Jean aujourd’hui connus sous le nom de «Beatus». Ces œuvres d’exégèse, enluminées surtout dans le nord de la péninsule Ibérique pendant l’occupation musulmane, constituent un ensemble pictural à l’identité artistique indéniable. Cependant, le manuscrit copié et illustré dans le scriptorium du monastère de São Mamede de Lorvão en 1189 diverge à plusieurs reprises des options iconographiques des autres codex et les solutions picturales et stylistiques de l’oeuvre portugaise se détachent significativement de celles des Beatus de la même époque comme par exemple ceux de Manchester, Cardeña ou Navarre. L’oeuvre se différencie aussi du travail produit dans les scriptoria portugais les plus réputés de Santa Cruz de Coimbra et Santa Maria de Alcobaça et amène à nous interroger sur le contexte de création de l’œuvre et sur la visualité qui a été à l’origine de ces images peintes. A partir de l’analyse du travail de figuration du moine artiste on constate que la nature conceptuelle du texte interprétatif s’est superposée à la dramatisation des visions de Jean et qu’elle a conditionné l’attitude créative. C’est donc dans le rapport conceptuel et spirituel entre le travail pictural et le texte exégétique que les images du manuscrit de Lorvão trouvent, en grande partie, leur singularité. La proximité entre l’image et l’exégèse semble aussi avoir été transmise aux enluminures de Lorvão par l’archétype utilisé, dépositaire probable d’une orientation plus conceptuelle et minimale qui serait une caractéristique des enluminures des premiers Beatus. Cela peut aussi avoir une répercussion importante dans la reconfiguration du stemma pictural des Beatus.Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Meyer, Linda M. "Discovering the Nuances in the Book of Hours of the Virgin: A Book of Hours in the Toledo Museum of Art (1955.28)." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1305040445.
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Krause, Karin. "Die illustrierten Homilien des Johannes Chrysostomos in Byzanz /." Wiesbaden : Reichert, 2004. http://www.loc.gov/catdir/toc/fy0610/2004471848.html.
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Kreuser, Carla Louise. "The meandering narrative : poetry and illustration engage in a moment of indiscipline : demonstrated in an analysis of Sara Fanelli’s illuminated poem - And all men kill the thing they love." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86503.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This is a study about the inner workings of an illuminated poem – about the dialogue that develops between poetry and illustration when they encounter each other on the page. However, the illuminated poem is more than just a relation between words and images, it is also a composite art in its own right. This study explores the dynamic of this particular type of imagetext by firstly claiming that the illuminated poem embodies a moment of indiscipline and secondly, by positing that illustration should contribute to this pairing by acting as a manifestation of illumination, instead of posturing as merely ‘illustrative’ or decorative. The inherent indisciplinarity of the illuminated poem as an imagetext is dissected – it is simultaneously two independent art forms and an integrated one; it can therefore be seen as both an interdisciplinary concern and a new art form. The illuminated poem as a visual art blurs the boundaries between words and images, upending the traditional, rigid boundaries of image-‐text discourse. Additionally, a meandering narrative is set in motion when poetry and illustration engage in an illuminated poem – a slower, involved, cross-‐pollinating reading that results in the activation of a reader’s imagination. The idea of Illumination is thus examined as both an orchestrated, visual choice and an active, conjuring process. Various strategies of illumination – with which illustration can open up a poem to new conceptual and narrative possibilities – are also discussed. These theories of interplay and interaction are then applied to an analysis of And all men kill the thing they love, an illuminated poem by Sara Fanelli and Oscar Wilde, revealing some of the ways in which illustration and poetry act as co-‐conspirators and collaborators when they engage in a moment of indiscipline.
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoekende studie na die dieperliggende werking van ‘n “illuminated” gedig. Die studie fokus op die dialoog wat ontstaan wanneer ‘n gedig en illustrasies mekaar op papier ontmoet. Die “illuminated” gedig is egter soveel meer as net die saamgestelde som van woord en beeld – dit is ook ‘n verstrengelde nuwe kunswerk in eie reg. Hierdie studie verken die dinamiek van dié besondere soort beeldteks deur, eerstens, te verklaar dat “illumination” ‘n moment van ongedissiplineerdheid behels en, tweedens, deur te verwag dat die illustrasies bydra tot hierdie verhoudingsdinamika deur ‘n manifestasie van “illumination”, pleks van net ‘illustrerend’ of dekoratief, te wees. Die inherente ongedissiplineerdheid van die “open-‐ended” gedig as beeldteks word ondersoek – dit vorm tegelykertyd twee onafhanklike kunsvorms en ‘n geïntegreerde geheel; dit kan dus beskou word as beide ‘n interdissiplinêre kunswerk en ‘n nuwe kunsvorm. Die ‘mengsel’-‐gedig as visuele kunsvorm oorskry die bekende grense tussen woorde en beelde en gooi alle rigiede, streng-‐tradisionele riglyne van die beeldteks-‐geding omver. Die verhaaltrant volg kronkelpaaie wanneer digkuns en illustrasie slaags raak op papier of meedoen aan die “open-‐ended” gedig – ‘n stadiger, meer betrokke, kruisbestuiwende leestempo word afgedwing, wat sodoende die leser se verbeelding aktiveer. Die idee van “illumination” word dus ondersoek as beide ‘n georkestreerde, visuele keuse en ‘n meelewende (verwonderings)proses. Verskeie verhelderings-‐ moontlikhede – waardeur illustrasie ‘n gedig kan ontsluit om nuwe konseptuele en vertellingsmoontlikhede te ontgin – word ook bespreek. Hierdie teoretiese benadering van ‘n heen-‐en-‐weer-‐spel se wisselwerkende interaksie word dan toegepas op ‘n analise van And all men kill the thing they love, ‘n “illuminated” gedig deur Sara Fanelli en Oscar Wilde. Verskeie wyses waarop illustrasie en digkuns as samesweerders en samewerkers kan optree wanneer hulle hulself in ‘n oomblik van ongedissiplineerdheid bevind, word aangetoon.
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Oliveira, Maria Silvia de. "Étant Donnés = a mise-en-scène eclipsada do jogo anadiômeno de Marcel Duchamp = Étant Donnés: the eclipsed mise-en-scène of the anadyomene game of Marcel Duchamp." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284552.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como objetivo dissertar sobre "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", uma poderosa criação realizada silenciosamente ao longo de 20 anos e eternizada através da sobrevivência das idéias de Marcel Duchamp. Espelho ou porta, o fato é que entre nós e as formas irreais que esfolam o olhar com suas arestas, há uma sala escura, tornando-nos sujeitos irremediavelmente cinematográficos. Aqui o cinema, mais especificamente o documentário, por registrar parcialmente a representação de fatos, envidou noções de verdade e realidade, abrindo um espaço privilegiado ao ser utilizado como fonte na sua forma mais envolvente e instigadora, alavancando dados norteadores para o desenvolvimento cognitivo do raciocínio. Ao atravessarmos a quietude de Étant Donnés vemos a "falta", um pedaço de tempo detido na mise-en-scène "feita para não ver" e somos transformados, à revelia, em voyeurs. Diante de tal espetáculo voyeurístico, embaraçoso e revelador, nossa culpabilidade é de quem surpreendeu um segredo. Partindo para novos padrões de interpretação desta obra inusitada, eclipsada e essencialmente carnal, vimo-nos forçados a passar pelo emaranhado tecido da memória de Marcel Duchamp. Enfim, saciando a fome de nossas almas famintas, Duchamp concretiza sua imagem cenográfica nesta iluminura tridimensional e nos permite colher, de um jardim medieval, a "Rosa de um Romance" e encontrar um banquete anadiômeno de maravilhas, onde, através de sonhos e espelhos, somos colocados frente a frente a nós mesmos
Abstract: This research had his focus on the study of "Étant Donnés: 1º la chute d'eau, 2º le gaz d'éclairage", a powerful creation performed silently for 20 years and immortalized through the survival of the Marcel Duchamp ideas. Mirror or door, the fact is that between us and the unreal forms that hurt the eyes with its edges, have a dark room, making us subject hopelessly cinematographic. Here the film, specifically the documentary, that made the partly record of the representation of facts and showed notions of truth and reality, opened a privileged space to be used as a data source in its most engaging and instigator, that guided us to the development of the cognitive reasoning. When we go through the stillness of Étant Donnés see the "lack", a piece of time detained in mise-en-scène "made not to see" and we are processed, involuntarily, in voyeurs. Faced with such a voyeuristic spectacle, embarrassing and revealing our guilt are some who surprised a secret. Leaving for new Standards of interpretation of this unusual masterpiece, eclipsed and essentially carnal, we found ourselves forced to pass through the tangled memory texture of Marcel Duchamp. Finally, satiating the hunger of our hungry souls, Duchamp realizes his scenographic image in this three-dimensional miniature and allows us to reap, of a medieval garden, the "Rose of a Romance" and find an anadyomene banquet of wonders, where, through dreams and mirrors, we are placed face to face ourselves
Mestrado
Multimeios
Mestra em Multimeios
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Schell, Sarah. "The Office of the Dead in England : image and music in the Book of Hours and related texts, c. 1250-c. 1500." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2107.
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This study examines the illustrations that appear at the Office of the Dead in English Books of Hours, and seeks to understand how text and image work together in this thriving culture of commemoration to say something about how the English understood and thought about death in the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige were texts that many people knew through this constant exposure, and would have been more widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these books reflect wider trends in the piety and devotional practice of the time. The first half of the study discusses the images that appear in these horae, and the relationship between the text and image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with reference to contemporary funeral practices, and ways of reading a Book of Hours. Other iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job, the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also discussed. The second part of the thesis investigates the musical elaborations of the Office of the Dead as found in English prayer books. The Office of the Dead had a close relationship with music, which is demonstrated through an examination of the popularity of musical funerals and obits, as well as in the occurrence of musical notation for the Office in a book often used by the musically illiterate. The development of the Office of the Dead in conjunction with the development of the Books of Hours is also considered, and places the traditions and ideas that were part of the funeral process in medieval England in a larger historical context.
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Barceló, Plana Alba. "La il·lustració dels cicles bíblics en les haggadot catalanes del període gòtic: un estudi iconogràfic." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666812.
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La present investigació doctoral té l’objectiu d’elaborar un estudi iconogràfic sobre els cicles bíblics d’un grup de manuscrits hebreus catalans del segle XIV. En concret, aquests manuscrits són haggadot, llibres per ser llegits en família durant el sopar pasqual. Tot i que el seu programa iconogràfic és variat, on s’inclouen també il·luminacions relacionades amb el contingut del text de l‘haggadà, la tesi focalitza l’atenció en els episodis bíblics miniats, la majoria dels quals dedicats al Gènesi i a l’Èxode.
Cal fer esment que es tracta d’un tema complex pel que fa a la problemàtica i les diverses hipòtesis a l’entorn de la configuració i evolució de la iconografia jueva des de temps antics. Diversos estudis han abordat el tema des de múltiples perspectives i enfocaments, però a causa del gran interès i riquesa de les haggadot, no es poden deixar de fer noves observacions i consideracions en relació a les qüestions que encara queden obertes. Les haggadot catalanes il·luminades són un testimoni de primer ordre no només en l’art jueu, sinó que també aporten elements per entendre els cicles bíblics cristians en un context català o afí. La relació entre iconografia jueva i cristiana, com demostren les obres, és evident, així que l’estudi dels cicles bíblics d’aquests manuscrits pot obrir portes també per entendre els cicles veterotestamentaris cristians.
Amb la intenció d’analitzar els temes de la bíblia hebrea en les haggadot catalanes, s’han tingut en compte una sèrie de factors que són clau per determinar la seva iconografia, com seria el contingut i missatge del text de l’haggadà i el significat de la festivitat de la Pasqua i el sopar ritual. S’ha considerat bàsic, també, analitzar el context artístic i històric on emmarcar la il·luminació dels manuscrits a la Catalunya gòtica, així com establir les característiques generals de les haggadot i els elements que han intervingut en la seva gènesi i creació, des dels seus artífexs fins als seus propietaris. El cos central de la tesi correspon a l’estudi, escena per escena, de les diverses vinyetes bíbliques que apareixen als manuscrits. Aquesta anàlisi ha tingut en compte les fonts literàries seguides –tant bíbliques com provinents del midraix i el Targum–, per comprovar d’on poden procedir els diversos motius iconogràfics inserits a les escenes, així com els models i correspondències artístiques amb altres obres de context jueu i cristià. Amb la finalitat d’establir comparacions i determinar les particularitats de les haggadot catalanes, s’han tingut en compte un bon nombre d’obres que comparteixen els mateixos temes
iconogràfics. Això ha permès fer valoracions en relació a quina tradició segueixen les imatges i establir fins a quin punt són fruit d‟una còpia dels cicles cristians o si inclouen especificitats úniques pròpies de la tradició jueva. Per valorar les escenes en el seu conjunt, també s’ha dedicat un capítol al significat i funció del programa bíblic tenint en compte la resta del programa iconogràfic, el motiu de l’elecció d’aquests temes i la funció de les imatges en el llibre segons el context historicocultural, unes qüestions que són fonamentals en un estudi iconogràfic.The present doctoral research aims to elaborate an iconographic study on the biblical cycles of a group of Hebrew Catalan manuscripts from the 14th century. In particular, these manuscripts are Haggadot, books to be read with the family during the Passover meal. Although their iconographic programme is varied, also including illuminations related to the content of the Haggadah text, the thesis focuses on the miniated biblical episodes, most of which are dedicated to the Genesis and the Exodus. It is important to highlight that this is a complex topic because of the different hypothesis concerning the configuration of Jewish art. Several studies have dealt with the subject from multiple perspectives and approaches, but because of the great interest and wealth of the Haggadot, new observations and considerations need to be made with respect to the issues that remain open. The illuminated Catalan Haggadot are not only a testimony of prime importance in Jewish art, but they also provide elements to understand the Christian biblical cycles in a Catalan context or similar. The relationship between Jewish and Christian iconography, as the works show, is obvious. Therefore, studying the biblical cycles of these manuscripts can also open doors to understand the Christian vetero-testamentary cycles. With the intention of analysing the topics pertaining to the Hebrew Bible in the Catalan Haggadot, a number of factors which are key to determine their iconography have been taken into account, such as the content and message of the Haggadah text and the meaning of the Passover and ritual dinner. It has also been considered necessary to analyse the artistic and historical context in which the illumination of the manuscripts of Gothic Catalonia was formed, as well as establishing the general features of the Haggadot and the elements that have contributed to their genesis and creation, from their authors to their owners. The main body of the thesis corresponds to the study, scene by scene, of the several biblical vignettes that appear in the manuscripts. This analysis has taken into account the literary sources consulted, such as the biblical sources and those from the Midrash and the Targum, to prove where the different iconographic motifs inserted in the scenes may come from, as well as the models and artistic correspondences with other works in Jewish and Christian contexts. In order to compare and determine the particularities of the Catalan Haggadot, a large number of works which share the same iconographic themes have been taken into account. This has made it possible to carry out assessments with respect to the tradition that the images follow and to establish the extent to which they are a result of a copy of the Christian cycles or whether they include unique special features specific to the Jewish tradition. In order to assess the scenes as a whole, a chapter has been dedicated to the meaning and function of the biblical programme while taking into account the rest of the iconographic programme, the reason for choosing these themes and the function of the images in the book according to the historical-cultural context, all of which are fundamental issues in an iconographic study.
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Pirotte, Emmanuelle. "La Chair du verbe: l'image, le texte, l'écrit dans les évangéliaires insulaires (VIIeme-IXeme siècle)." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211997.
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Angelet, Gimeno Silvia. "Els manuscrits il·luminats i els llibres il·lustrats com a eina didàctica per l'ensenyament de les ciències socials. Proposta de modelització per la difusió del patrimoni medieval jueu català." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401897.
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El patrimoni medieval jueu català, inexistent en el currículum escolar, és una assignatura pendent a les escoles del país, i a la didàctica del patrimoni. Proposem en aquesta recerca un model didàctic per a la seva transmissió entre l’alumnat de primària.
Els manuscrits il·luminats són uns mitjans idonis per la transmissió del patrimoni intangible del període en el qual han estat concebuts, com intentem demostrar amb l’exemple dels Beatus de Girona i la cultura mossàrab. I en aquest sentit, disposem d’unes fonts primàries úniques que podrien ser emprades per la didàctica del patrimoni tangible i intangible hebreu català: la col·lecció de manuscrits il·luminats jueus dissenyats per la celebració de la pasqua hebrea, confeccionats en terres catalanes, els quals són un clar exemple per una banda de la vocació didàctica dels manuscrits il·luminats, com també de les possibilitats que ofereix el seu ús per al coneixement d’una cultura i d’una època. L’avantatge afegit de l’ús de les haggadot catalanes per la didàctica de la història hebrea-catalana és que ens venen a omplir el buit documental i arqueològic provocat per la destrucció i la fragmentació del patrimoni jueu a la nostra terra, a través d’un cicle visual que ens aporta una panoràmica única dels calls catalans.
No obstant topem amb greus dificultats alhora d’emprar aquest llegat a l’aula de primària. El desconeixement del patrimoni jueu català i de la cultura jueva en general i la ignorància general en cultura religiosa dóna una imatge inintel·ligible d’aquest patrimoni. I per altra banda, cal destacar les dificultats de treballar amb fonts primàries: ni la llengua hebrea, ni el llenguatge ni l’escriptura medievals no són comprensibles per al públic escolar actual, fet que provocaria la necessitat de crear una edició adaptada de les haggadot de Pessah. I finalment la iconografia antiga genera una incomprensió total entre el públic escolar: les imatges també han de ser explicades i adaptades.
Així doncs, després d’analitzar el potencial didàctic del cicle visual dels manuscrits il·luminats a partir del Beatus de Girona, establim les bases teòriques d’un model per a la transmissió del patrimoni jueu català: explorem les estratègies d’ensenyament de les ciències socials, i investiguem el conte i la imatge com a eines didàctiques que estaran a la base del nostre projecte.
Iniciem la confecció del model didàctic amb una anàlisi prèvia de les haggadot catalanes, centrada en la transmissió del patrimoni medieval jueu català, que ens marca assenyala els diferents temes que hauran de sortir en el nostre projecte, com la seva articulació visual. Seguidament posem les bases del nou model basat en la didàctica de la imatge i del conte, delimitant-ne els objectius i determinant-ne els continguts, per finalment passar a la seva descripció textual i visual. Finalment experimentem el model creat i l’avaluem mitjançant tècniques grupals de grups de discussió o focus group. Gràcies als resultat dels diferents grups de discussió han estat validat els objectius de la recerca, mentre s’han aportat indicacions molt valuoses per tal de millorar el model creat: s’ha evidenciat de que el model, tot i essent adequat als propòsits que s’han marcat, ha de ser ampliat i completat per tal d’augmentar-ne l’abast i proporcionar eines per al seu treball a l’aula
Gràcies a la nostra recerca podem afirmar finalment que el patrimoni medieval jueu català contribueix a posar en valor la diversitat cultural de la ciutat, i que la seva inclusió a l’aula de primària és una ocasió única per conèixer el passat de la ciutat, i per realitzar una pedagogia intensiva de la diversitat i del dret a la diferència, fet que fa que el nostre model pugui anar més enllà de la didàctica del patrimoni per establir-se com a eina per al creixement de l’alumnat en sentit crític i en valors ètics.Medieval Hebrew-Catalan Heritage, not represented in school curricula, is a pending issue in our schools and in heritage education. We set forth in this study a teaching model for its transmission among Elementary School pupils, based on the collection of Medieval Hebrew-Catalan illuminated manuscripts. Illuminated manuscripts are key elements for intangible assets transmission from the period in which they were conceived, as we pretend to have demonstrated through the example of Gerona Beatus and Mozarabic culture. In this respect, we have at our disposal unique primary sources that could be used for Hebrew- Catalan tangible and intangible heritage teaching: the made in Catalonia collection of illuminated manuscripts designed to Jew Passover celebration, which are an example of the educational vocation of illuminated manuscripts, as well as of the opportunity of its use for understanding a culture and a special period. An added advantage in using the Catalan Haggadot for Hebrew-Catalan history teaching is the possibility to fill the gap in archaeological rests and documentation caused by the destruction and fragmentation of the Jewish Heritage in our territories, providing us a visual view of Catalan medieval ghettos. We run however into serious difficulties while using this legacy in Elementary School. Ignorance about Catalan Jewish heritage and about general Jewish culture, as shared unawareness about general religious principles as well, gives a confusing image of Catalan Jewish heritage. And secondly, the difficulties of working with primary sources should be noted. Neither the Hebrew language nor the medieval writing are understandable by today’s common elementary pupils, which should provoke the need for an adapted edition of the Haggadot of Pessah. But moreover, ancient iconography generates a total lack of understanding among elementary students as well: old images must be explained and adapted. For these reasons, in our research, after analyzing the educational possibilities of the illuminations of the Gerona Beatus, we establish the bases to didactic model conceived to Catalan Jewish heritage transmission. In this sense, we explore social sciences teaching strategies, and we also investigate tales and images as educational tools, understanding them as the basis of our project. In order to develop our teaching model, we start with a preliminary analysis of the Catalan Haggadot, focused on transmission of Jewish Catalan Medieval heritage, which sets the guidelines of the different issues that have to be represented in our project, as well of its visual features. We lay the foundations of a new educational model based on a tale and on images, defining its main target and determining its contents, and we eventually report its visual and textual description. We finally proceed to the experimentation on the educational model and its assessment, conducted by means of focus group. Thanks to the results of different discussion groups, the research’s targets have been validated, while valuable indications have been provided to improve the created model: it has been shown that the model, despite being suitable for the purposes that have been defined, must be completed and extended to increase its scope and to provide tools for classroom work. Through our research we can eventually conclude that Catalan Jewish heritage helps to highlight the city cultural diversity, and we can note its inclusion in elementary classroom as an unique opportunity to discover the past of the city, and to perform an intensive teaching of diversity and the right to difference, which should make our model going beyond the teaching of heritage to establish itself as a tool for the growth of students in critical and ethical values.
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Poole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.
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Horst, Harald. "Wissensraum am Niederrhein." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2017. http://dx.doi.org/10.18452/17761.
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Das Kreuzherrenkloster Hohenbusch bei Erkelenz (Niederrhein) wurde 1802 während der Säkularisation linksrheinischer Gebiete aufgehoben. Etwa 130 Handschriften und frühe Drucke aus seiner Bibliothek befinden sich heute vorwiegend in der Diözesanbibliothek Köln sowie in München, Brüssel, New York u.a. Ein 1801 im Auftrag der französischen Verwaltung erstelltes Inventar von 265 konfiszierten Büchern bildet das einzige Verzeichnis der ehemaligen Klosterbibliothek. Auf der Grundlage dieses Inventars und der erhaltenen Bestände unternimmt die Studie eine Teilrekonstruktion der Bibliothek. Schreibhände, Buchschmuck, Einbände, Besitzeinträge und Marginalien werden erfasst und beschrieben. Die inhaltliche Analyse des Bestandes belegt, dass sich Geschichte, Spiritualität und intellektuelle Ausrichtung des Klosters auch im Restbestand der Bibliothek spiegeln. Um sich in kulturhistorischer, interdisziplinärer Herangehensweise der sozialen und kulturellen Lebenswelt der Kreuzherren zu nähern, wird die Metapher des ‚Wissensraums‘ verwendet. Von dreidimensionaler Beschränkung befreit, umschreibt sie die Bibliothek als dynamischen Wissenskatalysator, der zu verschiedenen Zeiten die Generierung neuen Wissens auf der Grundlage vorhandener Informationen ermöglicht. Zwei Bestandsschnitte bei den Jahren 1520 und 1700 belegen so den Wandel des Klosters: Verstand es sich anfangs als geistlich-seelsorglich ausgerichtetes Haus, das später für die ordensinterne Ausbildung bedeutend wurde, ließen zuletzt Grundbesitz und zunehmender Wohlstand juristisch-administrative Fragen in den Vordergrund treten.The Crosier monastery of Hohenbusch, situated between Cologne and Aix-la-Chapelle, was dissolved in 1802, on the occasion of the secularization of church property. About 130 manuscripts and early prints from the canonry’s library survived in the diocesan library of Cologne, as well as in libraries in Munich, Brussels, New York etc. An inventory of 265 confiscated books, drawn up on behalf of the French administration in 1801, represents the only description of the former monastery library. The study attempts a reconstruction of the library based on this inventory, and on the material properties of the extant books. Script, book illumination, binding, ownership records and marginal notes in the books are therefore described. An analysis of the contents of the known books shows that they still reflect the history, spirituality, and intellectual bias of the canonry. The German metaphor ‘Wissensraum’ (knowledge space) shall help to approach the social and cultural life of the Crosiers. Perceived as a cultural concept beyond all restrictions of space, the metaphor aims to describe the library as a dynamic instrument which allows generating new knowledge based on existing information. A look on two segments of the library, the first up to the year 1520, the second up to 1700, shows how the monastery changed: Starting in a spiritual and pastoral orientation, it became an important house for the spiritual formation of novices, while at the end, due to its increasing land ownership, and prosperity, legal and administrative questions predominated.
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Lauren, Samantha Garretson Peter P. "Painted interiors from the Houghton Shahnameh." 2004. http://etd.lib.fsu.edu/theses/available/etd-08212004-004051.
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Thesis (M.A.)--Florida State University, 2004.Advisor: Dr. Peter Garretson, Florida State University, College of Social Sciences, Program in Asian Studies. Title and description from dissertation home page (viewed Jan. 13, 2005). Includes bibliographical references.
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Thompson, Lacey. "Ogam and the integumenta of word and image in the Book of Durrow /." 2004. http://wwwlib.umi.com/dissertations/fullcit/3154245.
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Collins, Kristen M. "Visualizing Mary : innovation and exegesis in Ottonian manuscript illumination." Thesis, 2007. http://hdl.handle.net/2152/3562.
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This study explores several of the key factors that led to the visual amplification of Mary in western Europe during the early Middle Ages, with the art of the Ottonian Empire as its focus. Although the twelfth century has long been recognized as a high point for Marian imagery, the brief but rich period of artistic production during the Ottonian Empire (919-1024) yielded a range of images crucial for understanding the growing role of the Virgin in art and devotion. The approach for this work is necessarily thematic; the seeming randomness of Ottonian images of the Virgin has resulted in their exclusion from broad surveys organized by iconographic type or medium. While images of the Virgin in the Ottonian Empire do not form large groups of visually cohesive images, Ottonian manuscript illumination offers an intriguing view into the process by which Marian devotion coalesced in the west. The period has been thought to represent a lacuna for Marian exegesis -- between the Carolingian period and the twelfth century there were no new theological texts written on the Virgin in this region. There was, however, an intensification of interest in Mary in the liturgy, and as I demonstrate, an attempt to formulate exegesis through images. In studying the odd occurrences -- the lone tenth-century image of a Virgin in a Pentecost scene, or the earliest crowned Virgin outside of Italy -- this study locates these works within their liturgical and political environment through considerations of patronage and use.
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Pearce, Judith M. "Text and image in the Salisbury Breviary (Paris, BN ms lat 17294) : the decorative cycle and its Paris precursors." Phd thesis, 1987. http://hdl.handle.net/1885/110012.
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The main aim of this thesis is to examine the Salisbury Breviary from the point of view of "the picture
in service of text and patron". The breviary is defined as a text. and the Salisbury Breviary identified as
an exceptionally richly decorated example of the genre, made in Paris during the second quarter of the
fifteenth century, but written for the use of Sarum, and intended for the personal use of the Duke of
Bedford, then regent in France for the infant king of England, Henry VI. In terms of the elements
contributing to the hierarchy of decoration of its sanctoral, communal and temporal (the psalter is
missing), the Salisbury Breviary is shown to be the culminating example of a well-established tradition in
Paris for the decoration and illumination of breviaries, represented by such major precursors as the
Breviary of Charles V. the Chateauroux and Orgemont Breviaries, and the Breviary of Jean sans Peur.
By contrast, the decorative forms used in the Salisbury Breviary are shown to reflect experiments
conducted by the Bedford, Boucicaut and Rohan workshops in luxury books of hours rather than
breviaries, in order pictorially to enhance their function as manuscripts for lay devotional use. The use of
such devices in the Salisbury Breviary, which resulted in a unique series of visual glosses to the, text of
the divine office, is explained with particular reference to the cross-cultural nature of the commission.v. 1. Text. -- v. 2. Figures.
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Hoover, Dale. "Affinity between chant and image : a study of a late fourteenth-century Florentine Antiphonary/Gradual (Baltimore : Walters Art Museum, ms. W153) /." 2004. http://wwwlib.umi.com/dissertations/fullcit/3149018.
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Lowry, Susan. "New York, Pierpont Morgan Library, M. 333 and manuscript illumination at the monastery of St.-Bertin under Abbot Odbert (986-ca. 1007)." 1993. http://catalog.hathitrust.org/api/volumes/oclc/34745342.html.
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Thesis (Ph. D.)--Columbia University, 1993.Department: Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 205-210).
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Poddar, Neeraja. "Krishna in his Myriad Forms: Narration, Translation and Variation in Illustrated Manuscripts of the Latter Half of the Tenth Book of the Bhāgavata Purāṇa." Thesis, 2014. https://doi.org/10.7916/D8H70CVV.
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This dissertation focuses on a seventeenth-century (so-called) Malwa manuscript that illustrates the story of Krishna, and the copy manuscripts that were produced after it. It explores how the story is transformed in its incarnations as the vernacular text inscribed on the manuscript, the cycle of illustrations depicting that text, and then the copies made from what appear to be the initial illustrations. The claim is that narrative variations which find their way into these different embodiments should almost never be considered "mistakes," even when an act of misunderstanding seems to be clearly implied. Rather they are moments when the artist's or author's engagement with contemporary sectarian concerns, literary trends, artistic strategies and popular culture is manifest. The first three chapters of the dissertation are devoted to an analysis of text, illustration and copy illustration respectively, while the fourth presents the broader context in which such Krishna manuscripts were circulating.The underlying objective is to re-evaluate the conventional narrative of North Indian illustrated manuscripts. This is cast as the teleology of court styles where political history is used to decide important and influential ateliers. Visually compelling and historically important illustrated manuscripts such as the ones I study, but whose patronizing court is undecided, are largely ignored. This dissertation showcases an alternative, interdisciplinary approach that undertakes thorough visual and textual analyses alongside an examination of the broader socio-religious trends that impacted artistic production. It advocates that every illustrated manuscript should be studied individually, rather than as just a member of a predetermined stylistic group.
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Slaymaker, Peter James Victor. "Augustine and the Trinity vision in the Vita Sancti Augustini Imaginibus Adornata." Thesis, 2013. http://hdl.handle.net/1805/3886.
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