Academic literature on the topic 'Regalia (insignia)'
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Journal articles on the topic "Regalia (insignia)"
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Kudelski, Jarosław Robert. "WWII VICISSITUDES OF THE INSIGNIA OF KING AUGUSTUS III." Muzealnictwo 62 (June 28, 2021): 132–42. http://dx.doi.org/10.5604/01.3001.0015.0008.
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During WW II, numerous precious art works from Polish public and private collections were looted, displaced and taken out of Poland. In view of the value of some of those pieces, the invaders’ authorities decided to have them transferred to German museums, and this is what happened to the coronation insignia of King Augustus III and his spouse Maria Josepha. German officials took over the regalia which were property of the National Museum in Warsaw already in 1939. Some time after, they were transferred to Cracow, the capital of the General Government. Several months later the insignia returned to Warsaw. In 1941, Dr Hans Lammers, Chief of the Reich Chancellery, requested them. On Adolf Hitler’s decision they were to be transferred to Dresden’s Grünes Gewölbe; in order to be transported there they were taken from Warsaw in 1942. By the end of the war, they were evacuated to a repository of artworks in the cellars of the Königstein Fortress. After WW II had ended, they were relocated, together with other cultural goods, to Moscow. It was only in 1960 that the Soviet regime returned the precious regalia to Poland.
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Lavrentyev, Alexander V. "“Muscovy Crown” in Polish Kings’ Treasury, 17th–18th cent. (on the origins and fate of the regalia)." Slovene 7, no. 1 (2018): 93–114. http://dx.doi.org/10.31168/2305-6754.2018.7.1.6.
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The paper concerns to the so-called “Muscovy crown” (“corona moscoviae”) of Polish kings that existed in the 17th century. This insignia emerged in Rzeczpospolita during the Russian Time of Troubles, having until then belonged to the Tsar's treasury in Moscow Kremlin. The adherents of False Dmitry I took it in 1606, upon which it turned up in possession of King Sigismund III and his heirs. It appears that the “Muscovy crown” was made in England for Tsar Ivan the Terrible as a symbol of the Astrakhan Khanate, which had been annexed by the Russian State in 1556. Contemporary evidence from various sources, including diplomatic ones, points to the possibility of the crown being delivered as a token of strengthening trade relations between Moscow and London, where the Moscow company was functioning in this period. The crown was not taken as a gift, it was bought for a large sum. The article includes a detailed survey of English, Polish and Russian sources, both primary and indirect, while looking into the mode of use of such insignia at the court of Russian Tsars and grand princes. The article also mentions, together with Monomach's cap and Kazan cap, both of which are now kept in the Moscow Kremlin, the now-lost first Siberian and Astrakhan caps, the latter of which is identified with the object of study. The crown is also compared to the Eastern and Western jewelry traditions of the time. The article is prefaced with a brief narration of the circumstances in which the insignia had got the name it was since called in Polish historical writings. The author concludes with a hypothesis on why this crown and other similar to it were commissioned from foreign jewelers. This question, however, demands further research, as does the character of the insignia's use at the court of Polish kings.
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Steyn, Raita. "Authoritative and Protective Insignia, Regalia and Symbols in Nubian Afro-Byzantine Rulers’ Iconography." Journal of Early Christian History 7, no. 3 (September 2, 2017): 73–95. http://dx.doi.org/10.1080/2222582x.2017.1411205.
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Huffman, Joseph P. "The Donation of Zeno: St. Barnabas and the Modern History of the Cypriot Archbishop's Regalia Privileges." Church History 84, no. 4 (November 13, 2015): 713–45. http://dx.doi.org/10.1017/s000964071500092x.
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Modern church historians have roundly accepted the ancient pedigree of imperial regalia privileges exercised by the archbishops of Cyprus, yet new research has shown that their origins are actually to be found in the mid-sixteenth century and within a decidedly western intellectual and ecclesial orbit. This article builds on such findings by documenting the modern history of these privileges and their relationship to the emerging political role of the archbishops of Cyprus as ethnarchs as well as archbishops of the Cypriot community under both Ottoman and British empires. Travelling across the boundaries of western and non-western cultures and employing a rich interdisciplinary array of evidence (chronicles, liturgy and liturgical vestments, hagiography, iconography, insignia, painting, cartography, diplomacy, and travel literature), this article presents a coherent reconstruction of the imperial regalia tradition's modern historical evolution and its profound impact on modern Cypriot church history. This study integrates the often compartmentalized English, French, Italian, German, and Greek scholarship of many subfields, producing a new holistic understanding of how the archbishop's ethnarchic aspirations could produce a spiritual culture in which St. Barnabas, the island's founding patron saint and once famous apostolic reconciler, became transformed into an ethnarchic national patriot and defender against foreign conquerors.
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Fromont, Cécile. "Foreign Cloth, Local Habits: Clothing, Regalia, and the Art of Conversion in the Early Modern Kingdom of Kongo." Anais do Museu Paulista: História e Cultura Material 25, no. 2 (August 2017): 11–31. http://dx.doi.org/10.1590/1982-02672017v25n02d01-2.
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ABSTRACT From their king’s decision to embrace Catholicism at the turn of the sixteenth century to the advent of imperial colonialism in the late eighteen hundreds, the men and women of the central African kingdom of Kongo creatively mixed, merged, and redefined local and foreign visual forms, religious thought, and political concepts into the novel, coherent, but also constantly evolving worldview of Kongo Christianity. Sartorial practices and regalia in particular showcased the artful conversion of the realm under the impetus of its monarchs and aristocrats. In their clothing and insignia, the kingdom’s elite combined and recast foreign and local, old and new, material and emblems into heralds of Kongo Christian power, wealth, and, eventually history. I propose to use the concept of the space of correlation as a key to analyze these elaborate, and constantly evolving religious, political, and material transformations through an attentive focus on cultural objects such as clothing, hats, swords, and saint figures.
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Булычев, А. А. "On the Imperial Order of Saint Prince Alexander Nevsky and the Phenomenon of the Repeated Companionage in the Order Corporation in Russia in the 18th Century." Istoricheskii vestnik, no. 35(2021) (March 27, 2021): 130–45. http://dx.doi.org/10.35549/hr.2021.2021.35.006.
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В статье собраны и проанализированы те немногие сведения об императорском Ордене Святого Благоверного Князя Александра Невского, что содержались в Установлении о российских орденах 1797 г. Этот юридический памятник обязан своим появлением неосуществленному проекту императора Павла I учредить единственный в стране Российский Кавалерский Орден, «классом» которого предстояло стать дотоле суверенной институции Св. князя Александра. Поскольку Установление 1797 г. не имело цели восполнить отсутствие на тот момент статутов орденов Свв. Андрея Первозванного и Александра Невского, то чересчур лаконичные и отрывочные упоминания обоих фалеронимов в документе оставило много лакун в описании орденской организации. В частности, Орден Св. Александра, задуманный императором Петром I как первая универсальная специализированная награда столь высокого ранга за заслуги, не получил ясно сформулированных квалификационных требований к потенциальным реципиентам. После отказа государя Павла Петровича от затеи с Российским Кавалерским Орденом, орденская институция Св. князя Александра Невского продолжила свое суверенное существование вплоть до последних дней существования исторической России, однако полноценного уставного документа так и не обрела. Социальные пертурбации эпохи «дворцовых бурь», приводившие к череде поражения в правах представителей политической элиты, приводили к неоднократному повторному вступлению некоторых из них в один и тот же орден. В статье этот феномен отечественной фалеристики рассматривается на примере троекратного пожалования инсигний датского Ордена Слона князю Василию Владимировичу Долгорукову и двукратного вручения регалий Ордена Св. князя Александра Невского светлейшему князю Александру Александровичу Меншикову. The article lists and analyzes a few details of the Imperial Order of Saint Alexander Nevsky that are available from the Statute of Russian Orders of 1797. This juridical artifact owes its advent to the failed attempt of Paul I of Russia to establish the only Knights Hospitaller in Russia which was aimed at providing the sovereign status of Saint Alexander Nevsky. Since the Statute of 1797 was not intended to establish the absent orders of St. Andrew the First-Called (Andrew the Apostle) and Alexander Nevsky, laconic and fragmentary mentions of both phaleronyms in the document left many gaps in the description of the order organization. Particularly, the Order of Saint Alexander Nevsky conceived by Peter the Great as the first unified themed award of merit of such a high rank did not receive clearly stated recipient specifications. Following the failure of Paul I's project of Russian Knights Hospitaller, the order institution of Saint Alexander Nevsky retained its sovereignty until the last days of historical Russia; however, a full-fledged statute was not developed. During the Era of Palace Coups, the social disturbance resulted in a series of defeats in the rights of the elite political class forcing some representatives to repeatedly re-enter the same order. In the article, the phenomenon of Russian phaleristics is studied on the example of Prince Vasily Vladimirovich Dolgorukov triply awarded insignia of the Danish Order of the Elephant and Prince Alexander Alexandrovich Menshikov awarded the regalia of the Order of Saint Alexander Nevsky twice.
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Di Cosmo, Antonio Pio. "I motivi erranti della regalità dell’impero romano e la costruzione della maestà visigota fra imitatio e percolazione delle regalia insigna." En la España Medieval 45 (April 7, 2022): 329–53. http://dx.doi.org/10.5209/elem.81450.
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Questo contributo propone un metodo euristico che adopera la categoria cognitiva dei motivi erranti della regalità, perché utile ad agevolare l’approccio alla cultura materiale ed immateriale del potere visigoto. La ricerca approfondisce quelle strategie di comunicazione che plasmano la cultura materiale e immateriale connessa alla regalità visigota partendo dai motivi tardoromani.
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Varela Fernandes, Carla. "Between Silences: The Coronation of Portuguese Medieval Kings (12th–14th Centuries)." Arts 9, no. 4 (October 29, 2020): 109. http://dx.doi.org/10.3390/arts9040109.
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The coronations of Portugal’s first dynasty constitute a complex topic. Approaching the theme requires understanding that an omission of words in written documentation can both affirm and deny possibilities. Likewise, visual documentation, such as illuminations, sculptures and other figurative arts, is scarce, raising a significant number of questions and thus is not trustworthy as a historical source. For this reason, the study of Portuguese coronations is filled with questions and silences. Art does not testify to these ceremonies, but shows that Portuguese kings valued regalia pertaining to both religious and secular ceremonies affirming their power, and that those insignias were different from those used by French or English kings in the same time period. In this study, I will use art, particularly funerary sculpture, but also objects with iconographic value, to demonstrate how these reflect elements of thought and the emotional pulsar of the various European societies that produced them.
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Tyukhmeneva, Ekaterina. "A Path to Empire: Formation of the Art Culture at the Russian Court of Peter the Great." Russian Foundation for Basic Research Journal. Humanities and social sciences, December 26, 2023, 20–30. http://dx.doi.org/10.22204/2587-8956-2023-112-01-20-30.
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In the course of the project, the author investigates the area of Russian court art culture in the first quarter of the 18th century associated with the formation of the new state ceremonial. For the first time, the authors cover practically all key ceremonies regulating the life of the monarch and his family: coronation, marriage and funeral ceremonies, triumphs and ceremonial meetings organized both in Russia and abroad. The article follows the development of the major principles of festive and mourning decorations and — to the extent possible — their further development throughout the 18th century. Particular attention is paid to symbols of power and insignia, as well as the jewellery art at the Russian court. Based on the materials collected, the author uncovers the circumstances of the design and use of a number of graphic works, regalia, orders, and precious settings for the court jewels, elucidated the typology and terminology of jewellery, and significantly expanded the existing understanding of the work of the craftsmen who executed the royal orders of the Romanovs.
In the process of this research, the project team introduced the unpublished graphic and written materials, new facts and names, made a number of attributions and clarifications, including terminology.
The findings are presented in the published collective paper, which contains besides the authors’ text the annexes comprising the publication of the 18th century documents and rich illustrations (more than 330 images): Tyukhmeneva E.A., Bykova J.I. A Path to Empire: Formation of the Art Culture at the Russian Court of Peter the Great. Ceremonies, Regalia, Jewels. Moscow: BooksMArt, 2022 — 448 p: illus.
Dissertations / Theses on the topic "Regalia (insignia)"
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Collins, Andrew William, and n/a. "The transformation of Alexander�s court : the kingship, royal insignia and eastern court personnel of Alexander the Great." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080811.093142.
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This thesis examines Alexander�s conception of kingship, his relationship with royal traditions in the three great kingdoms of the Near East, and the concomitant transformation of the king�s court by which Alexander created a distinctive royal insignia and introduced new court personnel and protocol. Section I ("Alexander and Near Eastern Kingship") contains Chapters I, II, and III. Section II ("The Transformation") comprises Chapters IV to VI. In Chapter I, I examine the Macedonian background of Alexander�s court and his native conception of kingship. Chapter II is a study of the kingship of Egypt. Chapter III deals with the kingship of Babylon and Persia. I then turn to an analysis of Alexander�s policies towards the Persians and the concept of the "kingship of Asia," as this was understood by Alexander. This crucial concept is to be distinguished from the kingship of Persia, a position which Alexander supplanted and replaced with his personal kingship of Asia. In Section II, three chapters are devoted to an analysis of the transformation of Alexander�s court. Chapter IV covers the origin and significance of Alexander�s royal insignia. Chapter V examines the introduction of, and the role played by, Persians and easterners in the king�s court; and Chapter VI the significance of other Persian court offices.
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Lamas, Jacques. "Portraits de cour et regalia, signes et significations politiques : l’exemple de certaines principautés méditerranéennes XVIe-XVIe siècles." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040016.
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L’étude de la représentation du pouvoir à l’époque moderne s’est beaucoup développée ces dernières années sous l’impulsion de spécialistes historiens de l’art ou sémiologues. Or ces études ont souvent exclu de leur champ de recherche l’espace géographique, pourtant fondamental, que constitue le monde méditerranéen. Cette thèse va donc s’articuler autour de l’interrogation suivante : l’art du portrait, et en particulier du portrait de cour peint, a-t-il été pour les princes italiens un support de leur politique, de l’affirmation de leur pouvoir et de leur puissance ? Le portrait de cour est-il le reflet de la conception du pouvoir des princes et des principaux mouvements intellectuels de l’époque moderne ? Après avoir replacé ces tableaux dans leur contexte historique, cette étude s’attachera à appliquer aux représentations du pouvoir une véritable analyse de contenu : étude des thèmes récurrents, périodicité de leur apparition, positionnement dans les plans de l’image, superficie occupée, mais aussi connotation de chacun à des référentiels culturels bien précis, autant de sens cachés et pourtant patents. Certaines principautés méditerranéennes ont en effet utilisé les principes picturaux et politiques de la Contre-réforme pour affirmer non seulement la supériorité de l’Église catholique, mais aussi leur pouvoir. Après la période de redécouverte de l’art du portrait que constitue la Renaissance, la Contre-réforme et le XVIIe siècle apparaissent comme l’utilisation du discours « visuel » pour s’opposer au discours écrit. Au contraire, au XVIIIe siècle, c’est l’influence des Lumières et des écrits philosophiques qui vont imprégner ces portraits de cour. Si certaines permanences demeurent, les décors ou certains éléments du costume montrent une imprégnation de la société et des sphères du pouvoir par les idées nouvelles, qu’elles soient politiques ou socialesThe study of the representation of power in modern times has developed significantly in recent years under the guidance of art historians and experts in semiotics. However, these studies have often excluded from their research the fundamentally important geographical space that is the Mediterranean world. Therefore, this thesis revolves around the following questions: Was the portraiture, and in particular the state portrait, a political statement of the power and legitimacy of the person represented in the painting? Is the court portrait a reflection of the conception of the power of the princes and the main intellectual movements of the modern era? After placing these paintings in their historical context, this study conducts a content analysis of the representations of power, focusing on recurrent themes, frequency of occurrence, and the placement of the image, and also to the connotation each specific cultural references, and meanings whether hidden or evident. Some Mediterranean principalities have indeed used the pictorial and political principles of the Counter-Reformation to assert not only the superiority of the Catholic Church, but also their own power. After the period of rediscovery of portraiture as an art form during the Renaissance, the Counter-Reformation and the seventeenth century are seen as the use of visual communication to oppose the written word. On the contrary, in the eighteenth century, the influence of the Enlightenment and philosophical writings permeates the state portraits. While there was a great deal of stability in portraiture over time, gradually the background decor and elements of the clothing began to reflect the arrival of new ideas, both political and social, within the spheres of power and in society more generally
Books on the topic "Regalia (insignia)"
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Kānčhanakun, Sētthaman. Hatthasinlapaphan (khrư̄ang sūng). Krung Thēp: Samnakphim Sētthasin, 2008.
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Kanlayāniwatthanā. Trā phǣndin, tra rātchasakun læ sakun ʻaksō̜n phranām læ nām yō̜. Krung Thēp: Samnakphim Wongčhō̜n, 1992.
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Patterson, Stephen. Royal insignia: British and foreign orders of chivalry from the Royal Collection. London: Merrell Holberton, 1996.
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Engelbrecht, Anders. Konge-Emblemet: Et nationalt symbol under besættelsen. [Odense]: Odense universitetsforlag, 1993.
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Saṅkhayā, Jeya. Rvhe bhuṃ nidānʻʺ. 4th ed. Ranʻ kunʻ: Rā praññʻ Cā pe, 2009.
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Phinkhanngœ̄n, Wit. Khrư̄ang rātchaphan. Krung Thēp: Samnakphim ʻAmarin, 2008.
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Hallewell, Richard. The Scots regalia. Strathtummel, Perthshire: Hallewell Publications, 1989.
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Rattelmüller, Paul Ernst. Das Wappen von Bayern. München: Süddeutscher Verlag, 1989.
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Peter, Heigl. Der Reichsschatz im Nazibunker =: The imperial regalia in the Nazi bunker. Nürnberg: Edition Mola-Mola, 2005.
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Schulze-Dörrlamm, Mechthild. Die Kaiserkrone Konrads II. (1024-1039): Eine archäologische Untersuchung zu Alter und Herkunft der Reichskrone. Sigmaringen: J. Thorbecke, 1991.
Find full textBook chapters on the topic "Regalia (insignia)"
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Brennan, T. Corey. "Origins of the Fasces." In The Fasces, 8—C2.P64. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0002.
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Abstract Ancient tradition is unanimous that twelve attendants known as “lictors” each carried fasces, walking in procession before the old kings of Rome, to mark the king’s status as a holder of imperium (the full civil and military power) and with it, his capacity to inflict either corporal or capital punishment. Tradition also held that Rome of the kings had appropriated this institution from the Etruscans. The discovery in 1898 of a miniature fasces with double-headed axe in a mid-seventh century bce tomb at Vetulonia spectacularly confirmed the Romans’ basic understanding of the emblem’s origin. Yet ancient writers almost certainly undervalue the level of terror this severe Etruscan institution produced when imposed on a native Latin community at Rome. Indeed, it was so effective that when the Romans replaced their monarchy with a Republic headed by two annual consuls, traditionally dated to 509 bce, they claimed the fasces as their own. But 509 bce is noted as the occasion for a thorough revamping of the fasces, to assert tighter public control of the insignia. Henceforth, per this account, the two consuls had to take turns presenting the full regal kit to denote precedence, remove the axes from their bundles within the city, and dip the insignia in assemblies to show deference to the Roman citizenry, who now received the right of appeal against summary execution. These measures most certainly existed in the historical period, had an exceptionally long life, and set the tone for Rome’s political culture.