Journal articles: 'Relics in art'

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Everts, Sarah. "The Art of Saving Relics." Scientific American 314, no. 4 (March 15, 2016): 72–77. http://dx.doi.org/10.1038/scientificamerican0416-72.

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Simpson, Roger. "Sacred Relics: Travelers and the Holy Grail." Arthuriana 21, no. 2 (2011): 42–58. http://dx.doi.org/10.1353/art.2011.0020.

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Serwer, Jacquelyn Days. "Heroic Relics: The Art of Robert Cottingham." American Art 12, no. 2 (July 1998): 7–25. http://dx.doi.org/10.1086/424317.

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McEwen, Abigail. "Relics and Erotics: Cuban Art after the Revolution." Revista Hispánica Moderna 67, no. 1 (2014): 109–16. http://dx.doi.org/10.1353/rhm.2014.0001.

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Camp, Cynthia Turner. "Relics and Writing in Late Medieval England by Robyn Malo." Arthuriana 24, no. 3 (2014): 169–70. http://dx.doi.org/10.1353/art.2014.0034.

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Ponsen, Arti. "Huiselijke relieken." De Moderne Tijd 4, no. 3 (January 1, 2020): 207–33. http://dx.doi.org/10.5117/dmt2020.3-4.004.pons.

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Abstract On January 12, 1807 part of Leiden’s inner city was devastated by the explosion of an inland boat loaded with gunpowder. About 160 people – mostly women and children – were killed, some 2000 injured. Survivors kept mementoes of their loved ones and of the event itself. Over time, many of these ‘secular relics’ were acquired by museums, others are still with the heirs of their original owners. The article discusses how the Dutch word ‘relic’ lost its religious connotation and how the private provenance of objects relating to the gunpowder disaster differs from the public veneration for national relics of Dutch history and art. The term ‘homely relics’ is proposed as a new subcategory of the ‘secular relics’ defined by Wim Vroom in 1997

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Xu, Hui, and Jiawan Zhang. "Large Relics Scenario-Based Visualization Using Head-Mounted Displays." Computational Intelligence and Neuroscience 2021 (October 5, 2021): 1–14. http://dx.doi.org/10.1155/2021/2813819.

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Most visitors come to visit museums; in reality, few immersive solutions support the senses experience. Virtual reality (VR) technology attaches the virtual information from the real environment. Applying the VR technology in the 3D relic information display and visualization in the museum field is a hot research issue. However, most current solutions of relics are one-sided, only focusing on the virtual exhibition, lack of associations with actual function, and senses experience, especially the large artistic cultural relics. The scenario-based virtual exhibition solution is an available approach to allow visitors to imitate ancient artist and provide relatively experience in the form of content and sense organ of ancient art. It converts large relics into “digital large relics” and enables experiencing performance of ancient civilization in person. The solution presents relics to the visitors in a more direct and vivid manner and with innovative forms, strong interaction, and intelligence, thereby improving the interests and satisfaction among visitors in this type of relic exhibition. Besides, it also provides visitors with a convenient way to experience and learn ritual and culture. Evaluation and conclusion can be drawn that most participants appreciated this solution in clear interface and completion aspects.

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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.

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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”

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Fahriani, Ipak. "The Art on Megalithical Relics of Waruga in North Minahasa." Tumotowa 1, no. 2 (December 1, 2018): 83–93. http://dx.doi.org/10.24832/tmt.v1i2.13.

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Wilayah Minahasa merupakan daerah yang cukup potensial memiliki tinggalan budaya megalitik, salah satunya adalah wadah kubur batu “waruga”, yang tersebar di hampir seluruh bagian wilayah Minahasa. Salah satu keunikan kubur batu waruga ini terletak pada Ragam hias yang terdapat pada bagian wadah dan tutup waruga. Penggambaran ragam hias pada obyek tersebut ternyata memiliki berbagai fungsi, sehingga menarik untuk dikaji bagaimana perkembangan budaya Minahasa melalui ragam hias yang ada di Waruga. Pengumpulan data dalam tulisan ini bersifat deskriptif yang diperoleh berdasarkan survei yang dilakukan terhadap situs Waruga di Minahasa Utara. Berdasarkan pengamatan yang telah dilakukan, ternyata dapat diperkirakan adanya pengetahuan tentang kepercayaan dan seni yang berkembang pada masa berlangsungnya budaya Megalitik di wilayah ini, sehingga dapat diperoleh gambaran tentang berbagai aktivitas yang pernah terjadi di wilayah Minahasa pada masa lampau.

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Pollick, Johanna. "Passion Relics and the Medieval Imagination: Art, Architecture, and Society." Journal of Medieval Religious Cultures 48, no. 2 (July 1, 2022): 255–57. http://dx.doi.org/10.5325/jmedirelicult.48.2.0255.

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Boese, Kent C. "Art Ephemera: Relics of the Past, or Treasures for Posterity?" Art Documentation: Journal of the Art Libraries Society of North America 25, no. 1 (April 2006): 34–37. http://dx.doi.org/10.1086/adx.25.1.27949399.

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Inglis, Erik. "Cynthia Hahn. Passion Relics and the Medieval Imagination: Art, Architecture, and Society." Studies in Iconography 42, no. 1 (2021): 198–200. http://dx.doi.org/10.32773/vnhg5309.

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Wittor, D., M. Hoeft, F. Vazza, M. Brüggen, and P. Domínguez-Fernández. "Polarization of radio relics in galaxy clusters." Monthly Notices of the Royal Astronomical Society 490, no. 3 (November 5, 2019): 3987–4006. http://dx.doi.org/10.1093/mnras/stz2715.

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ABSTRACT Radio emission in the form of giant radio relics is observed at the periphery of galaxy clusters. This non-thermal emission is an important tracer for cosmic ray electrons and intracluster magnetic fields. One striking observational feature of these objects is their high degree of polarization, which provides information on the magnetic fields at the relics’ positions. In this contribution, we test if state-of-the-art high resolution cosmological simulations are able to reproduce the polarization features of radio relics. Therefore, we present a new analysis of high-resolution cosmological simulations to study the polarization properties of radio relics in detail. In order to compare our results with current and future radio observations, we create mock radio observations of the diffuse polarized emission from a massive galaxy cluster using six different projections, for different observing frequencies and for different telescopes. Our simulations suggest that, due to the effect of Faraday rotation, it is extremely difficult to relate the morphology of the polarized emission for observing frequencies below 1.4 GHz to the real magnetic field structure in relics. We can reproduce the observed degree of polarization and also several small-scale structures observed in real radio relics, but further work would be needed to reproduce some large-scale spectacular features as observed in real radio relics, such as the ‘Sausage’ and ‘Toothbrush’ relics.

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Karaman, Selin. "On Relics, Hermann Nitsch and the Creation of Value in Art." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 67–70. http://dx.doi.org/10.5617/jea.4901.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the meaning and symbolic value of 'relics' of Hermann Nitsch's ritual performances.

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Géger, Melinda. "Dél-Dunántúli szakrális emlékek. Kiállítás a Rippl-Rónai Múzeumban, 2014. január 30 – április 10." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 3 (2014): 287–96. http://dx.doi.org/10.26080/krrmkozl.2014.3.287.

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In 2014, special religious relic exhibition of art was displayed in the Rippl-Rónai Museum, Kaposvár. Some of the exhibited material came from those museums’ collections found in South Transdanubia, while others were from private collections. The main aim of the exhibition was to find the local religious relics, again. Principally, this exhibition based on those relics which were moved by Sándor Klempa, the bishop of Veszprém from different Somogy County Baroque churches to the Diocese Collection, Veszprém in the 1950-60s. One of the most important part of the exhibition were those works painted by the most significant religious artists, István Dorffmaister and some church-related works from Rippl-Rónai Ödön’s collection were also exhibited.

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Dimitrov, Vladimir. "Through the Ancient Sights of West Georgia." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 51–61. http://dx.doi.org/10.33919/sledva.20.40.10.

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Pipkin, Christopher Lee. "Monster Relics: The Giant, the Archangel, and Mont-Saint-Michel in the Alliterative Morte Arthure." Arthuriana 27, no. 1 (2017): 95–113. http://dx.doi.org/10.1353/art.2017.0004.

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Yin, Qitong. "A Interventional Study of the Carving Art of the Hitching Post Head in Modern Sculpture." Learning & Education 10, no. 3 (November 7, 2021): 54. http://dx.doi.org/10.18282/l-e.v10i3.2389.

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Chinese folk art is the embodiment of folkways in China. With the further deepening of people’s ideology, the academic study of folk culture gradually gets away from the previous concept in recent decades, while folk culture has been included in the academic discussion and studied by scholars in depth. The hitching post art carving on the north of Wei River Basin is a representative of folk art. Through in-depth digging and organizing of a large number of documentary materials and historical relics, the hitching post head carving art has become one of the northern folk carving art forms that cannot be ignored in the history of ancient Chinese sculpture. From the study of the artistic expression form of the hitching post head, we see the charm of such folk art form, of which academic value does not only stay in the digging of cultural relics and history, but also has a profound influence on the modern folk carving art.

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Makhanko, Maria. "Veneration of the Holy Emperors and Empresses of Byzantium in Muscovite Rus’ According to the Attachments and Epigraphy of the Reliquaries of the 16th and 17th Centuries." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015766-1.

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Old Russian reliquaries of the 16th and the 17th centuries, i. e. the Late Medieval era of emerging autocracy, are valuable historical sources and masterpieces of art. The appearance of certain relics is associated with the external contacts of medieval states and churches, reflecting various aspects of spiritual life of the time. Among the attachments to reliquaries, either preserved up to now or known from written sources, parts of relics of saint Emperors and Empresses of the 4th to the 10th centuries Byzantium are of special interest. The article attempts to collect information about such relics, as well as analyze their meaning.

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Dybas, Tara. "Passion Relics and the Medieval Imagination: Art, Architecture, and Society , by Hahn, Cynthia." Religion and the Arts 26, no. 3 (June 1, 2022): 394–97. http://dx.doi.org/10.1163/15685292-02603009.

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Luginbill, Sarah. "Passion Relics and the Medieval Imagination: Art, Architecture, and Society by Cynthia Hahn." Comitatus: A Journal of Medieval and Renaissance Studies 51, no. 1 (2020): 278–79. http://dx.doi.org/10.1353/cjm.2020.0024.

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Jeong, Seong-Kwon. "The Process of Change to Gyeryyeong-ro Seen through Buddhist Relics and Art." CHIYEOK KWA YEOKSA The Journal of Korean History 51 (October 31, 2022): 237–78. http://dx.doi.org/10.19120/cy.2022.10.51.237.

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Hoang, Tuan Trong. "Tourist activities at points of Cultural and Historical Relics in Ho Chi Minh City viewed from tourists’ satisfaction." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 98–107. http://dx.doi.org/10.32508/stdj.v18i4.963.

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This study examined tourists’ satisfaction to tourism activities in a number of Cultural and Historical Relics in Ho Chi Minh City, based on 8 assessment contents. To gather information, the author of this paper has conducted questionnaire surveys for 180 tourists both domestic and international, at 7 tourism points according to criteria given. The study results showed that: (i) Historical and cultural relics and art architectural relics are two kinds of tourism resources that tourists, once coming to Ho Chi Minh City, choose to visit at the highest frequency; (ii) Touristcarrying capacity, security and sightseeing contents captured high consensus in the replies of tourists. The lowest are contents of assessment about friendliness of community and accessible tourist points. Research results also showed the facilities-technology, policy development, human resources at points of historical-cultural relics are attracting much attention of tourists in the proposals and recommendations.

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Guip, David. "Instructional Resources: Sacred Relics, Ritual Objects: Instructional Resources from the Toledo Museum of Art." Art Education 46, no. 6 (November 1993): 27. http://dx.doi.org/10.2307/3193406.

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Hooper, Steven. "A cross-cultural theory of relics: on understanding religion, bodies, artefacts, images and art." World Art 4, no. 2 (July 3, 2014): 175–207. http://dx.doi.org/10.1080/21500894.2014.935873.

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Nickson, Tom. "The Cult of Saint Thomas Becket: Art, Relics and Liturgy in Britain and Europe." Journal of the British Archaeological Association 173, no. 1 (January 1, 2020): 1–2. http://dx.doi.org/10.1080/00681288.2020.1801192.

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Wang, Zhiqiang, Zhongjian Zhang, Feiyue Wang, and Jianbin Liu. "A pXRF-Based Approach to Identifying the Material Source of Stone Cultural Relics: A Case Study." Minerals 12, no. 2 (February 3, 2022): 199. http://dx.doi.org/10.3390/min12020199.

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Precise identification of material sources is of great significance to archaeological study, conservation, and restoration of stone cultural relics. The present study proposes a simple and efficient approach to identifying the material source of stone cultural relics based on portable X-ray fluorescence spectrometer (pXRF) and statistical analyses. Chemical elements of stone samples, including Ca, K, Fe, Al, Si, Cl, S, and Mg from both cultural relics and potential quarries, were first measured non-destructively using a pXRF device. Obtained chemical element data were then classified using statistical techniques (i.e., cluster analysis and principal component analysis) to match tested materials from cultural relics to the material from a quarry, thereby identifying the material source of stone cultural relics. The proposed method was applied to identify the material sources of the Jin Gang Throne Tower (JGT Tower), the stele of “Rebuilding Pu’ansi Temple” (PAS Stele), and the stele of “Renovation of Sanjinmiao Temple” (SJM Stele) in Beijing Stone Carving Art Museum. The study shows that pXRF can be used on-site for handheld, fast, inexpensive, and non-destructive measurements of the elemental composition of stone materials, being a powerful tool for identifying the material source of stone culture relics especially immovable and large-scale ones.

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Chung, Phan Le, Nguyen Thi Hien Le, and Dinh Tran Ngoc Huy. "The Nguyen Dynasty with the Aesthetic Value of Bronze Relics in Hue." Journal of Public Representative and Society Provision 2, no. 2 (December 8, 2022): 41–45. http://dx.doi.org/10.55885/jprsp.v2i2.146.

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This paper aims to analyze the nguyen dynasty with the aesthetic value of bronze relics in hue. The method using observations, experience, synthesis analysis, historical and dialectical methods and draws some educational lessons for students. This study shows that Copper material is also one of the materials used a lot in objects with religious elements such as bronze bells, bronze bells, etc. Last but not elast, the aesthetic value of decorative art on bronze in Hue is also the combination of basic elements and the fusion of cultural factors.

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Yang, Y., S. Yang, and M. Hou. "DISEASE INVESTIGATION OF STONE CARVING BY SPATIAL ANALYSIS: A CASE STUDY ON THE STONE CARVING OF DAZU THOUSAND-HAND BODHISATTVA." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 887–94. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-887-2021.

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Abstract. Cultural relics are often threatened by nature and human, especially stone carving relics which have immovable characteristics. Compared with other cultural relics, the diseases of stone carving relics are more complex, and they can affect carvings’ cultural and artistic value to a great extent. This article selects Dazu thousand-hand bodhisattva as a case, not only because it has a strong representation in Chinese stone carving art, but also considering that there are many complex diseases in the whole range after a long history, therefore the Dazu thousand-hand bodhisattva has high research value, and scientific investigation methods are essential for the protection and research of cultural relics. The main purpose of this paper is to investigate the arm diseases of Dazu thousand-hand bodhisattva by using the two methods of GIS spatial analysis: kernel density analysis and trend analysis. The past investigation methods are difficult to achieve the expected results because of their strong subjectivity and narrow range, and the use of spatial analysis to investigate the diseases of stone carvings can study the spatial characteristics and coupling relationship of stone carvings from the macro level.

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Xie, Hao. "Digitized Visual Transformation of Grotto Art Using Deep Learning and Virtual Reality Technology." Scientific Programming 2022 (August 29, 2022): 1–10. http://dx.doi.org/10.1155/2022/5106036.

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The purpose is to convert the contents of the grotto murals into a digital vision based on deep learning (DL) and virtual reality (VR) technology to protect the precious grotto murals. The grotto murals are analyzed and modeled by introducing the related concepts of the digital library, using VR technology, and taking the cultural relics data acquisition technology as the basic framework. Then, the cultural relics information collection technology under DL is combined with VR technology, the color and materialization concepts of grotto murals are integrated, and a digital recognition model of grotto mural restoration and simulation is constructed. The color analysis scheme of grotto murals is established. Through the analysis of color and material, the comprehensive recognition rate of this color model can reach 70%, and the material recognition of color painting can also ensure one-to-one restoration. Besides, the model can be applied to the simulation and restoration of grotto murals and provide some help for the protection of grotto murals. This paper has practical application value for the protection and restoration of mural art.

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Shen, Guoyao, Xinyu Song, and Ge Gao. "The Development Path of the Integration of Folk Art and Rural Revitalization in the Areas along the Huaihe River in Anhui Province." Highlights in Art and Design 1, no. 3 (December 10, 2022): 94–96. http://dx.doi.org/10.54097/hiaad.v1i3.3574.

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Now, in the process of comprehensively implementing the rural revitalization strategy, strengthening the construction of confidence in rural culture can effectively reverse the imbalance between urban and rural relations. Realize the strategy of rural revitalization, encourage the development of folk art, and create a new era of artistic revitalization of the countryside. Excellent national folk art is the historical accumulation of national cultural relics, which has a positive impact on promoting rural construction. To explore the value and realization way of folk art in rural construction, learn from experience and give play to existing advantages, enrich its cultural connotation, promote theoretical research and practice, protect and inherit local folk art, and further revitalize the countryside through national policies and talent introduction.

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Wylie, F. R., G. L. Walsh, and R. A. Yule. "INSECT DAMAGE TO ABORIGINAL RELICS AT BURIAL AND ROCK-ART SITES NEAR CARNARVON IN CENTRAL QUEENSLAND." Australian Journal of Entomology 26, no. 4 (November 1987): 335–45. http://dx.doi.org/10.1111/j.1440-6055.1987.tb01978.x.

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Wu, Yuelin, Donghong Li, and Fan Feng. "Evaluation of Cultural Value Validity of Digital Media Art Based on Locally Weighted Fitting Algorithm." Advances in Multimedia 2022 (July 31, 2022): 1–11. http://dx.doi.org/10.1155/2022/1751135.

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Digital media art differs from other forms of existence in the intersection of digital technology and art, and this new form of existence contains its unique value. Digital media art education crosses the disciplines of art, computer science, and technology and builds a new perspective that can encompass the academic discourse of literature and science, transcending the opposition between scientific and humanistic cultures and creating a broader knowledge structure and a new view of values and resources. In this paper, we use image quality evaluation based on local Gaussian weighted fusion and image collocation for restoration of precious cultural relics and images to realize their cultural values, in view of the current problems such as damage caused by a large number of precious paintings due to improper preservation and other problems.

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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.

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Crotty, Joel. "Beyond the Sneer: Revisiting Musical Socialist Realism." Transcultural Studies 9, no. 1 (2013): 93–101. http://dx.doi.org/10.1163/23751606-00901008.

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The author engages with how communism and socialist realism have been re-presented in post-communist Europe. Communist cultural artefacts are displayed in museums and theme parks on a continuum from dangerous relics to benign kitsch. He argues for neutrality when dealing with musical socialist realism and demonstrates some of the pitfalls in taking that position through examples of Romanian art music from the mid-20th century.

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Oh, Ho Seok. "Recognition on Buddhist Relics in Juksan of Anseong City and Their Significance In terms of Art History." JOURNAL OF KOREAN CULTRUAL HISTORY 49 (June 30, 2018): 97–125. http://dx.doi.org/10.29334/mhsh.2018.06.49.97.

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Griffith Mann, C. "Relics, reliquaries, and the limitations of trecento painting: Naddo Ceccarelli's Reliquary Tabernacle in the Walters Art Museum." Word & Image 22, no. 3 (July 2006): 251–59. http://dx.doi.org/10.1080/02666286.2006.10435754.

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Rubio, Fernando Domínguez, and Glenn Wharton. "The Work of Art in the Age of Digital Fragility." Public Culture 32, no. 1 (January 1, 2020): 215–45. http://dx.doi.org/10.1215/08992363-7816365.

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Impermanence and fragility have become the defining conditions of the digital age. Technologies that were ubiquitous barely a decade ago, like floppy disks, now look like archaeological relics. It takes only a few years, if not months, before software environments are replaced by newer versions, often with limited backward compatibility. At the same time, digital technologies rely on hardware that has short life expectancy. The radical obsolescence of this new digital register raises a number of important questions. How are we going to prevent the fragile memories of contemporary digital cultures from receding into oblivion? This essay answers this question by looking at one of the institutions in which the problems associated with digital fragility are most especially felt, the Museum of Modern Art (MoMA), and by exploring the ontological displacements that digital objects are operating at the heart of the museum.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 64, no. 2 (October 2017): 204–7. http://dx.doi.org/10.1017/s0017383517000122.

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Visitors to modern Istanbul struggle to imagine how the city as created by Constantine appeared. But the elongated promenade now usually indicated as Sultan Ahmet Parki, but also known as the At-meidam (‘Horse-Square’), is vaguely conceivable as the ancient Hippodrome, the centre of public life in imperial Constantinople; and of the numerous monuments that once adorned this area, a trio persists along the site of the ‘spine’ of the ancient racetrack. Two obelisks are still conspicuous; between them lurks the ‘Serpent Column’, which was already a piece of antiquity when Constantine had it removed from Delphi. Of all bronzes to survive from the classical world it is perhaps the most deserving of its own ‘cultural biography’. This is what Paul Stephenson offers with The Serpent Column. He starts in the broadest possible terms – mankind's general phobia of snakes – and then guides the reader through two and a half millennia of the vicissitudes endured by a sacred object wrenched from its ‘pagan’ purpose and somehow accorded special status within first Christian and then Muslim theocracies. Several times damaged, but never destroyed, the structure originally erected to mark the Greek victory over the Persians at Plataia in 479 bc now serves as a sort of talisman against snakebites. Stephenson calls upon some esoteric sources to inform its symbolic genesis – though disappointingly attempts no reconstruction of how it originally supported a tripod with cauldron – and shows how that symbolism could be adapted in biblical terms. Constantine's motives for relocating the monument remain obscure; nonetheless, we can surely dismiss Gibbon's conclusion that the emperor reveals merely ‘the rapacious vanity of a despot’. Recall the tradition that in his new forum he buried, beneath a pillar, an ensemble of relics comprising the Trojan-Roman Palladium, Noah's axe, Mary Magdalene's ointment jar, the crosses of the two thieves, and twelve baskets used by the apostles at the feeding of the five thousand. Superstitious he may have been; yet, by his choice of objects, Constantine also shows a fine sense of cumulative tradition at the juncture of Europe and Asia.

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Aung, Myo Nyunt. "Comparing Encased Stupas in Thailand and Myanmar." Nakhara : Journal of Environmental Design and Planning 21, no. 2 (October 19, 2022): 213. http://dx.doi.org/10.54028/nj202221213.

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This article compares the design of encased stupas from the 15th to 19th centuries CE in Thailand along with examples from Myanmar in order to highlight the shared custom of encasement alongside the differences which developed over time. Archaeological evidence of stupa encasement is plentiful, particularly in Thailand, and shows variations in the design of space and patronage. In both these countries, the second or new donor sometimes left a gap between the original inner and new outer structure for patrons and pilgrims to move around the inner structure in veneration. This article compares examples alongside the customs and beliefs that underpin the function and meaning of the encasement. Archaeological evidence of encasement in Thailand is complemented by the presence of relics of the Buddha, kings, amulets, precious stones, and possibly consecration deposits reviewed through the chronology, epigraphy, architecture, art styles and reliquaries of five Buddhist stupas dating from the 15th to 19th centuries CE. These are compared with examples from the author’s native country of Myanmar, where some encasements have a space between inner and outer stupas and relics have been recorded. While there are many similarities, in Myanmar the relic deposits from research to date have been found in many parts of the stupa, which is somewhat different from Thailand. Together, these comparative and contextual aspects contribute to a deeper understanding of the relationships in patronage traditions and also differences in encasement design between the neighboring countries of Myanmar and Thailand.

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Oh, Ho-Seok. "Lee Hee-seop of Munmyeong Sanghoe in Gyeongseong and Stone Cultural Relics of Sano Art Museum in Japan." Journal of Buddhist Art 28 (October 30, 2019): 127–49. http://dx.doi.org/10.36620/bms.2019.28.5.

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van Strydonck, Mark, Anton Ervynck, Marit Vandenbruaene, and Mathieu Boudin. "Anthropology and 14C Analysis of Skeletal Remains from Relic Shrines: An Unexpected Source of Information for Medieval Archaeology." Radiocarbon 51, no. 2 (2009): 569–77. http://dx.doi.org/10.1017/s0033822200055934.

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Since the early Middle Ages, relics of Catholic saints played an important role in popular religion in Europe. The shrines containing the human remains of the saints, however, are rarely studied, typically only when restoration becomes necessary. Formerly, such study was mostly restricted to the art-historical aspects of the artifacts, sometimes including the counting and rough identification of the bones. In this study, for the first time, and for a number of case studies, a more systematic approach was taken, including detailed physico-anthropological observations, 13C and 15N stable isotope measurements, and 14C analysis of the bones.The importance of this project lies not only in a critical evaluation of the authenticity of the relics. Fruitful insights could also be gained about the origin, history, and treatment of these parts of our religious heritage. Finally, it has been proven that shrines are an important source of early medieval human skeletal material, which is only rarely found in archaeological contexts in Belgium.

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Ryndina, Anna V. "The Semantic and Artistic Evolution of Images of Nicholas the Wonderworker. Russia and the West." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 10–36. http://dx.doi.org/10.36340/2071-6818-2022-18-6-10-36.

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In the article, devoted to the research of the image of St. Nicholas the Wonderworker, the author focuses on new trends in the study of ancient Russian art and, above all, in the study of architectural monuments, "minor forms" of liturgical purpose and plastics. The author especially emphasises that at the present stage, the issue of content, the connection of form formation with the structure of symbolic thinking within the cultural space of the era is actively brought to the fore. In this regard, the work of Pavel Florensky, The Church Ritual as a Synthesis of the Arts, is perceived as a program work, proving that church space and each object, regardless of its size and sacred significance, originally formed a single whole. From these positions, it is necessary to study the monuments of ancient Russian plastic art, approaches to the interpretation of which need to be clarified. The material is truly huge and varied: from small plastics in the form of miniature carved icons, folds and panagias to monumental kiot statues, gravestone sculptural images, white stone and wooden crosses. It is in this context that the author explores the evolution of the images of Nicholas the Wonderworker, who is especially revered by the Orthodox Church and particularly in Russia. Analysing the scientific facts in the article, the author argues that the shrine resting in the crypt (the relics of St. Nicholas the Wonderworker) more than once became a living source of many legends, iconographic versions, customs in the veneration of the saint and, most importantly, structural icon models for Russia during the 14th-18th centuries. Apparently, it is no coincidence that in most churches with revered wooden statues of the saint, the main celebrations of St. Nicholas fell precisely on May 9 - in memory of the Translation of the Relics to Bari. Keywords: Nicholas the Wonderworker, relics of Nicholas the Wonderworker, wooden sculpture, medieval painting, sacred image, Bari.

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Chiu, Yu-Jing, Yi-Chung Hu, Jia-Jen Du, Chung-Wei Li, and Yen-Wei Ken. "Evaluating Art Licensing for Digital Archives Using Fuzzy Integral." Mathematics 8, no. 12 (December 11, 2020): 2206. http://dx.doi.org/10.3390/math8122206.

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Determining how to evaluate the art licensing model is a complex multi-criteria decision making (MCDM) problem. This study explores the critical factors influencing art licensing in the art and creative industry because this industry has potential contributions to a high value-added cultural economy in Taiwan. Due to the high cultural value of the National Palace Museum and the uniqueness of its cultural relics, this study takes it as an empirical case. The decision hierarchy is constructed based on a literature review and expert interviews. Furthermore, we used the fuzzy integral to calculate the weights and overall performance of the three licensing models. The empirical results illustrate that both brand licensing and image licensing groups emphasized the aspect of market environment as the primary consideration for licensing model selection. In particular, respondents considered that the adoption of a brand licensing model could facilitate the achievement of better overall performance value. The reason is that brand licensing made the company’s brand visible by imprinting the brand names of both the National Palace Museum and the company on products. This study can be used as reference model for the evaluation of art licensing by enterprises in the future.

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Timmermann, Achim. "The ship in the shop: An art history of late medieval ship models." International Journal of Maritime History 33, no. 2 (May 2021): 257–88. http://dx.doi.org/10.1177/08438714211013534.

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This contribution represents an attempt at a first outline of an art history of late medieval ship models and their contexts of use. Focusing on the mid-thirteenth through early sixteenth centuries, an age of rapidly expanding horizons, this study examines the design and role of miniature vessels at the intersection between devotional practices, courtly culture, modes of patronage and technological change. It explores three categories of ship models in particular: ex-voto ships that were presented to a specific shrine after a miraculous rescue at sea or naval victory; nefs, which served as princely table decorations and containers of commodities such as salt and spices; and nefs that, subsequent to their use as banqueting props, were repurposed as devotional vessels that either contained relics or possibly functioned as ex-votos.

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Igoshev, Valeriy V. "The 19th century Old Believers’ chased icon “Cross of Calvary” as a heritage of Old Russian Staurotheke." Russian Journal of Church History 3, no. 1S (March 22, 2022): 116–29. http://dx.doi.org/10.15829/2686-973x-2022-91.

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This article examines the chased relief icon “Cross of Calvary” made on a thin brass plate fastened to a rectangular wooden board. The chased icon compositional construction and the inscriptions-cryptograms are similar to the wood-carved Old Believers’ icons of the 18th — 19th centuries made by masters of the Russian North. The general composition, the style of the ornament, the technique of execution and the inset inscription on the engraved icon “Cross of Calvary” testify that this work was created by an Old Believers master, a follower of the Old Pomor community Filippovtsy in the Russian North in the first half of the 19th century and is focused on the oldest traditions of church art. The chased relief icon depicting the eight-pointed Calvary Cross is an echo of the ancient tradition of creating a Staurotheke, well-known in ancient Russian and Byzantine art. Such icons did not only belong to churches but also were carefully kept as family relics in the Cross chambers or in the Red corners of the living quarters and subsequently contributed to the church. Making of a Staurotheke is associated with the veneration and preservation of liturgical or pectoral crosses, which were cut into a board or placed in closed arks then becoming an icon of the Cross. Those Staurothekes were сonsidered to be sacred objects richly decorated with oklads, precious stones and pearls. This article also presents various types of liturgical and pectoral crosses with embedded sacred relics, which were especially revered. Old Russian crosses were made in different periods of time with different art styles, shape, proportions, sizes, nature of decor. All this indicates a variety of traditions and revered sanctities which served as models in the process of making later crosses.

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Assavavirulhakarn, Prapod, and Peter Skilling. "Tripiṭaka in Practice in the Fourth and Fifth Reigns: Relics and Images According to Somdet Phra Saṅgharāja Pussadeva’s Paṭhamasambodhi Sermon." MANUSYA 5, no. 4 (2002): 1–6. http://dx.doi.org/10.1163/26659077-00504001.

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The Tripiṭaka is not simply an inert collection of manuscripts or books. It is a living thing, a store of ideas that has marked many aspects of social life, from ritual to ethics to mediation pratice, to literature, art, and education. The ideas and ideologies of the Tripiṭaka pervade society. One of the main ways through which the Tripiṭaka leaves the library and penetrates society is the sermon, which adapts the ideas and ideals of the Tripiṭaka to suit circumstances and audiences.

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Cong, W., and Y. Song. "The Application of Regulating Plant Growth into Protective Engineering of The Western Mansions Area in The Old Summer Palace." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-5/W3 (August 11, 2015): 41–45. http://dx.doi.org/10.5194/isprsannals-ii-5-w3-41-2015.

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The Western Mansions (Xīyáng Lóu) in the Old Summer Palace (Yuánmíngyuán ) are extremely valuable set of heritage. When it was first conceived and constructed, it was an important part of the successful exchange between Chinese and the Western cultures. It marked the entry of European architecture and the art of gardening into Chinese royal gardens. Therefore, the Western Mansions occupies a vital position in the garden history of China and even the world. Since the 1980s, the Administrative Office of the Old Summer Place (Yuánmíngyuán) had cleared and reorganized the Western Mansions relics. But currently, both the protection and display of the Western Mansions are far from satisfactory. With regards to the outlook of the cultural relics, there is cracking and collapses, relics are damaged by tourists, there is rainwater erosion, plant aggression, pollutants, weathering, crumbling and other threats. This is caused by the improper protective measures and the yearslong erosion through natural causes. Therefore, in order to protect the important heritage and show people the situation of the plant growth，As the basis of the copper planting, the historical conditions of planting can be speculated at the time of the western building, which become an important basis for the recovery of history. This paper also further researches on the informationg of plant form in history,to avoid destabilising the heritage.Some destruction from plant growth can be controled.

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Purwanti, Siska Dwi, and Daryono Daryono. "TRANSFORMASI RELIEF CANDI PRAMBANAN DALAM KARYA TUBUH RITUS TUBUH OLEH ANGGONO KUSUMO WIBOWO." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 1 (July 23, 2020): 66–76. http://dx.doi.org/10.33153/grt.v19i1.3186.

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Transformation is a process of changing form, nature, and so on into new forms without leaving the values that existed in the previous culture. The process of transformation always produces elements of novelty, both in terms of style, taste, and meaning even at different levels of change. Transformation in art does not only occur in similar arts. Ancient relics, for example, as one form of art can be a starting point to be interpreted into visual expression in contemporary art, including dance. Tubuh Ritus Tubuh is one of the dance works which is a form of transformation of the Prambanan Temple relief. This study tries to uncover the allegations of the transformation of the Prambanan temple reliefs that can be observed on Tubuh Ritus Tubuh dance presentation. The problem of transformation is examined using the theory of change expressed by Lorens Bagus. The participatory research method carried out by the author is able to uncover the form of transformation found in certain parts of the dance presentation. Keywords: transformation, relief, Prambanan Temple, Tubuh Ritus Tubuh.

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Sanger, Alice. "Rome Fellowship: The role of relics in art patronage, collecting and aristocratic devotion in early modern Rome (1563–c. 1650)." Papers of the British School at Rome 73 (November 2005): 276–77. http://dx.doi.org/10.1017/s0068246200003081.

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Journal articles on the topic 'Relics in art'

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