Relevant bibliographies by topics / Saint Annunciation

Academic literature on the topic 'Saint Annunciation'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Saint Annunciation"

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Pentcheva, Bissera V. "The Virgin Mary and Sainte-Foy: Chant and the Original Design of the West Façade at Conques." Religions 13, no. 12 (December 19, 2022): 1229. http://dx.doi.org/10.3390/rel13121229.

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Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor.
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Łabuda, Piotr. "Γένοιτό μοι jako dzieło łaski Bożej przyjęte wiarą przez Maryję (Łk 1, 26-38)." Ruch Biblijny i Liturgiczny 61, no. 1 (March 31, 2008): 15. http://dx.doi.org/10.21906/rbl.313.

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Mary’s acceptance of God’s gift takes place after meditation that is happening inside her during the annunciation. If you wish to learn about the process of how Mary made the decision of accepting the gift it is valid to study the selected phrases that appear in Saint Luke’s description of the event. The particular formulas, that refer to or encourage reflection on the selected events from the history of the chosen people, include and present the idea of the secret of God’s choice as well as Mary’s free and deliberate decision.
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Halpine, Susana M. "Amino Acid Analysis of Proteinaceous Media from Cosimo Tura's 'The Annunciation with Saint Francis and Saint Louis of Toulouse'." Studies in Conservation 37, no. 1 (February 1992): 22. http://dx.doi.org/10.2307/1506434.

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Halpine, Susana M. "Amino acid analysis of proteinaceous media from Cosimo Tura's ‘The Annunciation with Saint Francis and Saint Louis of Toulouse’." Studies in Conservation 37, no. 1 (January 1992): 22–38. http://dx.doi.org/10.1179/sic.1992.37.1.22.

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Reuland, Jamie. "Voicing the Doge’s Sacred Image." Journal of Musicology 32, no. 2 (2015): 198–245. http://dx.doi.org/10.1525/jm.2015.32.2.198.

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During the fourteenth century, Venetian chronicles, art, and ceremony fostered provocative analogies between angelic annunciation and the political voice of the Venetian populace. Such analogies imagined a city whose civic and heavenly members were united through the sound of unanimity. At the intersection of the state’s civic and celestial bodies stood the doge, considered to be the image of the Republic and of its patron, Saint Mark. A complex of sung ceremonies and musical compositions addressed to the doge dramatized the notion that the voice, as a ritual instrument, could engender real political or spiritual change in the state and its leaders. Performances of acclamations to the doge positioned him within Venice’s sacred and civic hierarchies, while state art and ceremony forged symbolic resemblances between ducal acclamation and angelic annunciation. A repertory of occasional motets evidences polyphonic play with the notion that vocal rituals centered on the doge could activate the spiritual ideals of the state: the anonymous Marce, Marcum imitaris (c. 1365) draws a sonic analogy between spiritual likeness and musical imitation in order to dramatize the concept of the doge as Mark’s image, whereas Johannes Ciconia’s Venecie mundi splendor/Michael qui Stena domus elides a text dedicated to the Annunciate Virgin with one addressed to the doge, creating musical echoes and simultaneities in its praises of Venice’s temporal and celestial leaders.
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Tadic, Milutin, and Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac." Glasnik Srpskog geografskog drustva 91, no. 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.

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The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Shumilova, Khristina. "Novgorodian Royal Gates of XV±XVIIth centuries with depictions of the Annunciation and two saint bishops." St.Tikhons' University Review. Series V. Christian Art 16, no. 4 (December 31, 2014): 63–84. http://dx.doi.org/10.15382/sturv201416.63-84.

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Đorđević, Uroš. "ATRIBUCIJA SLIKARSTVA NA DVERIMA PATRIJARHA ANTONIJA SOKOLOVIĆA IZ DEČANA." Leskovački zbornik LXII (2022): 47–60. http://dx.doi.org/10.46793/lz-lxii.047dj.

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On the iconostasis of the church of the Decani monastery, there are the Holy doors that were carved by Patriarch Antonije Sokolović. On the front side of the Holy doors, the iconographer Longin painted the Annunciation. The figures of the Saint King Stefan of Decani and Saint Nicholas are painted on the back of the Holy doors, whose authorship is the subject of this paper. Mirjana Ćorović Ljubinković and most of the experts at the time attributed this painting to Antonije. In 2005, the theory mentioned above has been called into question, and these scenes, without further analysis and evidence, were attributed to Longin. The question of the authorship of the back of the Holy door required complex research that has not been accomplished so far. By analyzing the artistic language of this painting, it can be concluded that it is not Longin’s work and that it has a different author’s writing, and a different style. Under the influence of Cretan art, this painting approaches the Peć school, to which Longin belongs to. By analogy with the characteristics of the carving of the Holy doors, and the other pair of Antonije’s Holy doors in Peć, and by comparing the ducts of the letters, it can be assumed that the author is Antonije. Thus, the former theory of Mirjana Ćorović Ljubinković and her like-minded scholars about Antonije’s authorship proved to be well-founded and withstood the test.
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Moiseev, Dmitry Alexandrovich. "The Forgotten Missionary Saint: The Life and Works of Bishop Macarius (Darsky) of Kamchatka, Kuril and Annunciation (1842-1897)." Вестник Исторического общества Санкт-Петербургской Духовной Академии, no. 2 (2021): 13–21. http://dx.doi.org/10.47132/2587-8425_2021_2_13.

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Fuentes Pérez, Gerardo. "La escultura. Engañando a la gravedad." ACCADERE. Revista de Historia del Arte, no. 1 (2021): 69–85. http://dx.doi.org/10.25145/j.histarte.2021.01.04.

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Sculptures are not capable of creating as complex scenes as painting does, except sculptural relief that creates the illusion of perspective and narration through the different planes. And it is not a question of establishing conceptual criteria in the manner of El Paragone, but rather discovering the constructive possibilities of sculpture in certain proposals, such as the representation of content through mass, height and depth, that is, the three-dimensionality. Already in the past, sculptors made an effort to obtain complex results such as the challenge to gravity (deceiving gravity), by means of optical effects, the colour, using movement, light and other components. The Niké by Peonio, the Ecstasy of Saint Teresa by Bernini, the Annunciation by Günther or many of the works by Canova, Orrico, Quinn, Bethencourt, etc. are samples of those professional boasting, always depending on the materials used. The Baroque period is the most fruitful stage in the production of these sculptural purposes, creating, as Quirin Asam did, authentic theatrical productions where the characters seem to float.
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Dissertations / Theses on the topic "Saint Annunciation"

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Novotny, Ronald W. "Mary, fulfillment of person in the Annunciation: a study of the dialogic principle of Martin Buber and Hans Urs von Balthasar: a proposed re-reading of the Annunciation (as a dialogic event)." IMRI - Marian Library / OhioLINK, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1431439857.

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Genig, Joshua Dale. "The sacramentality of the Word : through the lens of the annunciation to Mary." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/2554.

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This thesis seeks to demonstrate that, in failing to take the sacramentality of the Word seriously, the preaching of the Church has suffered negative consequences. In short, preaching has often become, at best, a form of instruction or, at worst, an incantation of sorts, rather than an integral part of deepening our relationship with Christ by functioning sacramentally to bring about divine participation with Jesus' corporeal humanity in his living Word. Moreover, this trouble has had a profoundly negative effect on my own Lutheran Church – Missouri Synod due, in part, to our Reformation heritage as Christians who believe, teach, and confess the sole authority and divine inspiration of Holy Scripture. Yet, what has been lost over the past 500 years since the Reformation began is the reality of Christ's ongoing corporeal presence in and for the Church, particularly as he is present in the viva vox of preaching. In order to recover that reality, I propose that one should consider the annunciation to Mary where, with a sermon of sorts, the corporeal Christ took up residence in the flesh of his hearer. In addition to granting Mary a son, however, this tangible presence of Jesus also delivered to her precisely what was contained within his own flesh: the fullness of the Godhead (Col 2:9). When understood as a biblical paradigm for the Church, it becomes clear that what happened to Mary can, indeed, happen to Christians of the present day. To that end, I propose that preaching today, when understood sacramentally, can deliver the fullness of the person of Christ, who continues to come in corporeality, with humanity and divinity, in the viva vox of preaching.
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Lima, Raquel Sofia Araújo. "A redescoberta de S. Rosendo, um Santo anterior à formação de Portugal." Master's thesis, 2021. http://hdl.handle.net/10400.14/37176.

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O presente relatório é reportório de um estágio realizado no âmbito do Mestrado em Conservação e Restauro de Bens Culturais que teve lugar nas oficinas de Conservação e Restauro da Escola das Artes da Universidade Católica Portuguesa. No seu decorrer foi feito um estudo histórico e material, juntamente com uma intervenção de conservação e restauro numa pintura de óleo sobre madeira. A obra em causa, intitula-se “S. Miguel anuncia o Nascimento de S. Rosendo”, representando uma passagem da lenda de S. Rosendo. Enquadra-se no século XVII e o seu autor é desconhecido. Pertence à Igreja de S. Miguel do Couto, uma freguesia do concelho de Santo Tirso, porém não existem informações, nem documentos que abordem informações sobre esta. O estágio foi iniciado com uma pesquisa bibliográfica para enquadramento histórico da obra, caracterização artística e iconográfica e estudo material e técnico. A necessidade de uma intervenção de conservação e restauro desta pintura advém de algumas patologias evidentes que esta apresentava, sobretudo a nível estrutural e, principal foco deste estágio, onde foi criado um sistema com perfis de alumínio que não só reforçam a união das pranchas como mantém a sua planificação. Mantendo o respeito pela integridade física e histórica da obra, todas as decisões tomadas com o decorrer desta atividade, obedeceram aos princípios basilares da conservação e restauro, como a intervenção mínima e a preferência por materiais reversíveis, com o principal objetivo de retardar o envelhecimento da obra.
The present report describes an internship performed under a Master in conservation and restoration of cultural goods which took place in the conservation and restoration workshops of arts school from Universidade Católica Portuguesa. In its course it was done a historical and material study on pair with a conservation and restoration intervention in a painting wood. The piece of art in cause calls itself “S. Miguel anuncia o nascimento de S. Rosendo” which demonstrates a part of the Saint Rosendo legend, from the 17th century, and his author it´s unknown. It belongs to a church in S. Miguel do Couto in Santo Tirso, however, there is no information, nor documents with information about it. The internship began with bibliographic research for historical framing, artistic characterisation and iconography, technical and material study. The necessity of conservation and restauration intervention of this piece was due to some evident pathologies presented on it especially as structural level and, the main aim of the internship. A system of aluminium profiles was created that not only supports the junction of the boards but also maintains his planification. Maintaining the respect to its physical and historical integrity, all the taken decisions had in concern the basics of conservation and restoration, minimal intervention and preference for reversible materials, with the main objective of retarding its aging.
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Auger, Marie-Pier. "Le triptyque oublié de Jan de Beer au Musée des beaux-arts de Montréal." Thèse, 2016. http://hdl.handle.net/1866/19103.

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Ce mémoire porte sur le triptyque de l’Adoration des Bergers (1510-1530) de Jan de Beer (1475-1538) présent dans les collections du Musée des beaux-arts de Montréal (MBAM) depuis 1975. Cet ouvrage se divise principalement en deux sphères primordiales de la discipline de l’histoire de l’art. Dans un premier temps, une recherche sur l’historique de l’œuvre a été réalisée et a permis de lever le voile sur des archives majeures qui renseignent sur le parcours de l’œuvre. Nos recherches permettent maintenant d’affirmer avec certitude le passage de l’œuvre en 1934 au château Galgoz des Erdődy, une famille aristocratique influente en Hongrie, en Slovaquie et en Croatie. De plus, l’inestimable contribution d’outremer d’Orsolya Bubryák a permis de découvrir le contrat de vente signé entre Vilmos Erdődy (1887-1959) et Theodor Fischer le 5 décembre 1934 à Vienne. À ceci s’ajoute la récupération du catalogue de vente de la « Grosse Auktion in Zürich » qui s’est déroulée du 2 au 5 juin 1937. Un intérêt est de ce fait porté au contexte historique, politique et économique dans lequel évolue la famille Erdődy avant la date charnière de 1934. Une lecture approfondie des lois et des recommandations du groupe spécial SAP (SAP Panel) nous éclaire sur les conditions et les possibilités d’une vente forcée. Dans un second temps, nous nous intéressons à l’iconographie et à l’iconologie du triptyque, un cadre théorique développé par Erwin Panofsky que nous utilisons tout au long de notre analyse. Nous avons pu constater comment les Révélations de Sainte Brigitte de Suède ont foncièrement influencé l’imagerie de l’Adoration des Bergers. Toutefois, Jan de Beer imprègne son retable d’un second discours, celui de l’aveuglement de l’humanité face à la lumière divine. Le déploiement d’un discours autre que celui relatif à l’Adoration des Bergers s’est glissé dans le symbolisme caché, et en s’introduisant, il témoigne d’une part du désir intime d’une relation directe avec Dieu, telle que prônée par les protestants quelques années avant le Concile de Trente, mais aussi, d’autre part, des idées de la culture humaniste, qui est une réflexion spirituelle sur le salut des âmes.
This M.A. thesis treats the triptych of the Adoration of the Shepherds (1510-1530) by Jan de Beer (1475-1538), in the collections of the Montreal Museum of Fine Arts (MBAM) since 1975. The project is twofold, and engages on one hand provenance studies, and secondly iconography. First the provenance of the triptych is examined, and brings to light significant documents detailing of the artwork’s journey in the tumultuous twentieth century. While this Antwerp-mannerist triptych appears on page nine on the list of objects “whose history is incomplete between 1933 and 1945,” recently published by the MBAM, our research now confirms the passage of the work, in 1934, in the Galgoz castle of the Erdődys, an aristocratic family known throughout Hungary, Slovakia, and Croatia. A new document regarding the sales contract signed by Vilmos Erdődy (1887-1959) and Theodor Fischer on December 5th, 1934 in Vienna has also come been found, as well as the 1937 auction catalogue documenting its sale. Attention is therefore paid to the historical, political and economic contexts experienced by the Erdődy family before the turning point in 1934. A thorough review of the SAP Panel’s legislation and recommendations will enlighten us regarding the conditions and possibilities of a forced sale. Secondly, the triptych’s iconography is examined in great detail, following a theoretical framework developed by Erwin Panofsky. Amidst several other popular texts of the time, the Revelations of Saint Bridget of Sweden can be shown to have fundamentally influenced the imagery of the Adoration of the Shepherds. However, Jan de Beer infuses his altarpiece with a second layer of meaning, what Panofsky would call its iconology, that of the blindness of humanity in the face of divine light. The deployment of this secondary discourse is by means of hidden symbolism, which, by introducing itself stealthily, testifies on the one hand to the intimate desire for a direct relationship with God some years before the Council of Trent, but also of the ideas central to a humanist culture: a spiritual reflection on one’s own salvation.
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Books on the topic "Saint Annunciation"

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Corrington, Robert S., 1950- writer of foreword, ed. Finding grace with God: A phenomenological reading of the Annunciation. Eugene, Oregon: Pickwick Publications, 2014.

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Die Verkündigung an Maria in der niederländischen Malerei des 15. und 16. Jahrhunderts. Frankfurt am Main: P. Lang, 1994.

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Re-imagining Mary: A journey through art to the feminine self. [Carmel, Calif.]: Fisher King Press, 2009.

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Jakoby, Barbara. Der Einfluss niederländischer Tafelmalerei des 15. Jahrhunderts auf die Kunst der benachbarten Rheinlande am Beispiel der Verkündigungsdarstellung in Köln, am Niederrhein und in Westfalen (1440-1490). Köln: DME-Verlag, 1987.

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Divine Conception: The Art of the Annunciation. Unicorn Publishing Group, 2018.

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Eijaliisa Ahtila Marian Ilmestys The Annunciation. Crystal Eye, 2012.

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Waller, Gary. Cultural Study of Mary and the Annunciation: From Luke to the Enlightenment. Taylor & Francis Group, 2015.

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Waller, Gary. Cultural Study of Mary and the Annunciation: From Luke to the Enlightenment. Taylor & Francis Group, 2015.

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Cultural Study of Mary and the Annunciation: From Luke to the Enlightenment. Taylor & Francis Group, 2015.

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Waller, Gary. Cultural Study of Mary and the Annunciation: From Luke to the Enlightenment. Taylor & Francis Group, 2015.

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Book chapters on the topic "Saint Annunciation"

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Khokhlova, Irina L. "Image of Feats of Repentance in the Ladder and in the Hagiographic Icon of John Climacus." In Hermeneutics of Old Russian Literature. Issue 21, 495–513. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-495-513.

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The article examines image of feats of repentance in the Ladder and in the hagiographic icon of John Climacus. The ascetic composition of the Byzantine Saint John Scholasticus The Ladder of Heaven has a rich history of embodiment in old Russian painting. The original type of iconography, born of the Ladder, are the scenes of monastic exploits in the monastery-dungeon, described in the Word 5 On Repentance. A developed cycle of images of repentance scenes of monastic recluses surrounds mullion of the recognized masterpiece of the last third of the 16th century — the icon Vision of St. John of the Ladder with 24 Stamps of Life and Exploits from the collection of the Rybinsk Museum-Reserve. The purpose of study is to trace in this rare monument nature and features of translation of the fifth chapter of the Ladder from literary to pictorial language. The tasks of studying an icon are to determine its closest iconographic and stylistic analogies and protographs in frescoes, icons, miniatures. This will clarify the dating and attribution of the icon. Using a method of comparative analysis of text and image, a method of iconographic and stylistic comparisons, an iconological method, author finds parallels between hagiography and iconography. A consistent comparison of the icon’s brands with similar scenes of monks’ repentance in the fresco of the western gallery of the Annunciation Cathedral of Moscow Kremlin (1508–1564) and in the miniatures of the manuscript Ladder of the 1520s–1530s from the RSL (Russian State Library) proves the obvious close acquaintance of the icon’s author with these monuments of metropolitan origin. The uniqueness of iconography and elitism of icon’s writing lead to the conclusion that it was written by a Moscow isographer by royal order, probably as an image of the patron saint of prince Ivan, the son of Ivan the Terrible.
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Conference papers on the topic "Saint Annunciation"

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Musin, Aleksandr. "The Imperial archaeological commission in Russia and Poland: information on the history on the Church of the Annunciation of the Mather of God, Supraśl, in the archives of the Institute of the History for Material Culture, Russian Academy of Sciences, in Saint-Petersburg." In Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-240-263.

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