Academic literature on the topic 'Symbolism in art Egypt History'
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Journal articles on the topic "Symbolism in art Egypt History"
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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.
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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbols of the plant world (in particular roses) with the identification of a number of features and patterns.Objectives.The purpose of the article is to study the symbolism of rosesin landscape gardening art of different eras.Methods.The historical method helps to trace the stages of the transformation of the symbolism of roses in different historical periods. The inductive method allows you to move from the analysis of the symbolism of roses in each era to generalization, the identification of patterns, the connection of the cultural life of society with the participation of roses in it. Graph-analytical method reveals the features of creating various types of gardens with roses, taking into account trends in styles and time.Results.In the gardens of Ancient Greece, the theme of refined aesthetics, reflections on life and death dominated. It is no accident that in ancient times it was an attribute of the goddesses of love. In antiquity, she was a favorite flower of the goddess of beauty and love of Aphrodite (Venus). In connection with the legend of the goddess, there was a custom to draw or hang a white rose in the meeting rooms, as a reminder of the non-disclosure of the said information. It was also believed that roses weaken the effect of wine and therefore garlands of roses decorated feasts, festivities in honor of the god of winemaking Dionysus (Bacchus). The rose was called the gift of the gods. Wreaths of roses were decorated: statues of the gods during religious ceremonies, the bride during weddings. The custom of decorating the floor with rose petals, twisting columns of curly roses in the halls came to the ancient palace life from Ancient Egypt, from Queen Cleopatra, highlighted this flower more than others. In ancient Rome, rose gardens turned into huge plantations. Flowers from them were intended to decorate palace halls during feasts. In Rome, a religious theme was overshadowed by luxurious imperial greatness. It is interesting that in Rome, which constantly spreads its borders, a rose from a "female" flower turned into a "male" one. The soldiers, setting out on a campaign, put on pink wreaths instead of helmets, symbolizing morality and courage, and returning with victory, knocked out the image of a rose on shields. From roses weaved wreaths and garlands, received rose oil, incense and medicine. The banquet emperors needed so many roses, which were also delivered by ships from Egypt. Ironically, it is generally accepted that Nero's passion for roses contributed to the decline of Rome. After the fall of the Roman Empire, rose plantations were abandoned because Christianity first associated this flower with the licentiousness of Roman customs. In the Early Middle Ages, the main theme is the Christian religion and roses are located mainly in the monastery gardens, symbolizing divine love and mercy. Despite the huge number of civil wars, when the crops and gardens of neighbors were violently destroyed, the only place of peace and harmony remained the monastery gardens. They grew medicinal plants and flowers for religious ceremonies. During this period, the rose becomes an attribute of the Virgin Mary, Jesus Christ and various saints, symbolizing the church as a whole. More deeply, the symbolism of the rose was revealed in Catholic life, when the rosary and a special prayer behind them were called the "rose garden". Now the rose has become the personification of mercy, forgiveness, martyrdom and divine love. In the late Middle Ages, in the era of chivalry, roses became part of the "cult of the beautiful lady." Rose becomes a symbol of love of a nobleman to the wife of his heart. Courtesy was of a socially symbolic nature, described in the novel of the Rose. The lady, like a rose, symbolized mystery, magnificent beauty and temptation. Thus, in the Late Middle Ages, the secular principle manifests itself on a par with the religious vision of the world. And in the Renaissance, the religious and secular component are in balance. The theme of secular pleasures and entertainments was transferred further to the Renaissance gardens. In secular gardens at palaces, villas and castles, it symbolized love, beauty, grace and perfection. In this case, various secret societies appear that choose a rose as an emblem, as a symbol of eternity and mystery. And if the cross in the emblem of the Rosicrucians symbolized Christianity, then the rose symbolized a mystical secret hidden from prying eyes. In modern times, secular life comes to the fore, and with it new ways of communication, for example, in the language of flowers, in particular roses. In the XVII–XVIII centuries. gardening art is becoming secular; sesame, the language of flowers, comes from Europe to the East. White rose symbolized a sigh, pink –an oath of love, tea –a courtship, and bright red –admiration for beauty and passionate love [2]. In aristocratic circles, the creation of lush rose gardens is in fashion. Roses are actively planted in urban and suburban gardens. In modern times, rose gardens carry the idea of aesthetic relaxation and enjoyment. Many new varieties were obtained in the 19th century, during the period of numerous botanical breeding experiments. At this time, gardening ceased to be the property of the elite of society and became publicly available. In the XX–XXI centuries. rosaries, as before, are popular. Many of them are located on the territory of ancient villas, palaces and other structures, continuing the tradition.
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Sande, Siri. "Egyptian and Other Elements in the Fifth- Century Mosaics of S. Maria Maggiore." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 65–94. http://dx.doi.org/10.5617/acta.5531.
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The point of departure for this article is the mosaic with Nilotic motifs that runs along the bottom of the apse of S. Maria Maggiore in Rome. The mosaic is a work of Iacopo Torriti dating to 1296. There has been a great deal of discussion, however, whether he invented the motifs or whether he copied them from the fifth-century apse (or even included parts of the original). It is here suggested that Torriti used motifs which were originally present in the fifth-century apse and that they, together with other motifs relating to Egypt in the still preserved fifth-century mosaic panels, had a symbolism well suited to the ideas about Mary and the Incarnation that were prevalent in Rome in the fifth century.
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Kemp, Barry. "Egypt's Invisible Walls." Cambridge Archaeological Journal 14, no. 2 (October 2004): 259–60. http://dx.doi.org/10.1017/s0959774304210162.
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City walls invite functionalist explanations. It is at first sight easy to deduce why they were built. Where contemporary written and pictorial evidence survives, however, the subject begins to take on a cognitive dimension. Did people at the time really perceive them as we are apt to imagine? The subject has been extensively discussed in the context of medieval Europe where contemporary pictures and contemporary accounts can be set against the architectural remains themselves. City walls were built for status and symbolism as much as for protection. The following collective discussion of the subject in the context of Egyptian history, both ancient and medieval, seeks to follow the same approach: to confront the documentation of the changing practice of urban walling with evidence that represents the mindset of the day. For the time of the Pharaohs the subject is complicated — and made more rewarding as a consequence — by the immense effort which the Egyptians also devoted to walled enclosures around prominent religious buildings. Here the temptation for us is to create a separate category from walled settlements, but on a basis that could be quite misleading. Although the dichotomy between the sacred and the profane is apparent in the construction of walls, meanings change and the distinction is far less apparent in the subsequent use of these enclosures. In medieval Egypt the massive walls of Cairo, parts of which are still an impressive sight, also turn out to be a poor guide to how urban defence was generally perceived at that time. As is ever the case in archaeology, the relationship between the minds of the present, the minds of the past and the objects of reflection forms a subtle and complex triangle.
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Morkoç, Selen. "ART HISTORY AND ARCHITECTURAL SYMBOLISM: A Hermeneutical Critique." Architectural Theory Review 8, no. 2 (November 2003): 124–33. http://dx.doi.org/10.1080/13264820309478489.
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Peri, Oded. "Ottoman Symbolism in British-Occupied Egypt, 1882–1909." Middle Eastern Studies 41, no. 1 (January 2005): 103–20. http://dx.doi.org/10.1080/0026320042000322734.
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Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research." Философия и культура, no. 12 (December 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.
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The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.
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Montserrat, Dominic. "The Representation of Young Males in ‘Fayum Portraits’." Journal of Egyptian Archaeology 79, no. 1 (October 1993): 215–26. http://dx.doi.org/10.1177/030751339307900114.
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This article discusses the symbolism used on the mummy portraits of adolescent boys from Roman Egypt. The social implications of these symbols and representational modes are examined, with particular reference to their links with contemporary constructs of puberty, male sexuality and rebirth.
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Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.
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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also doesn`t seem to have been even read. This phenomenon and its notion deserve proper research. The scientific community’s interest in this movement is growing, as the importance of symbolism comes to light, and it becomes more evident that it was not only a milestone in history, but it also predetermined many trends in the development of culture and art up to the present day. Apart from that, the extreme heterogeneity within the symbolist movement and its paradoxical and unexpected metamorphoses are rarely understood. Nonetheless, through the analysis of such magazines as Zolotoe runo, and by drawing upon the research of cultural scientists, art historians and literary critics, we can clarify the features of symbolism, contradictory and holistic at the same time.
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Poo, Mu-Chou, and Gay Robins. "The Art of Ancient Egypt." International Journal of African Historical Studies 31, no. 2 (1998): 493. http://dx.doi.org/10.2307/221163.
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Teodorescu, Ana. "Tiger Symbolism in the British Raj." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 51–62. http://dx.doi.org/10.52214/cja.v1i2.10126.
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This research paper explores representations of the tiger during British colonization of India, arguing that the symbolism embodied in these depictions started with the copying of Indian rulers’ ceremonial attachments to tigers and gradually merged into an approach which delineated class division and racial segregation. A brief history of British-Indian relations situates the period in question and paints a picture of the powers at play. Themes of power dynamics, racism, and gender roles are explored in relation to art and animal history, offering a comprehensive view of a phenomenon that was accepted but never openly discussed. The power of symbolic imagery in constructing cultural identities is emphasized and illustrations vividly support the thesis for the various stages.
Dissertations / Theses on the topic "Symbolism in art Egypt History"
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Haynes, Dawn. "The symbolism and significance of the butterfly in ancient Egypt." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79920.
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Thesis (MPhil)--Stellenbosch University, 2103.ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt.
AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.
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Szymanska, Agnieszka. "Sacred Spectating: The Late Antique Triconch at the Red Monastery in Egypt." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/452187.
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Art HistoryPh.D.
This dissertation focuses on the Red Monastery church, an early Byzantine monument located in Egypt. A monastic community which came to be known as the Red Monastery joined an ascetic federation led by the nearby White Monastery. In the fifth century C.E., the monks of the White and Red Monasteries commissioned monumental church buildings. The Red Monastery church is a smaller copy of the White Monastery church. Both are triconch basilicas, and their enclosure walls imitate the external profiles of pharaonic temples. The interior elevations of the two church sanctuaries adopt an architectural type called multistory aedicular façades. These kinds of façades adorned elite public buildings in the eastern Mediterranean region. Although a lot of scholarship has been done on the White Monastery and its famous abbot Shenoute (ca. 346-465 C.E.), the Red Monastery church was almost completely overlooked until recently. Between 2000 and 2015, Elizabeth S. Bolman directed a major multidisciplinary project that focused on the triconch sanctuary of the Red Monastery church. Its ensemble of architectural sculpture, polychromy, and figural paintings is virtually intact. Bolman and Dale Kinney have substantially advanced the state of knowledge about monastic visual culture in late antique Egypt by focusing on the Red Monastery church. My dissertation builds on their conclusions. I have identified a different perspective from which to understand the late antique triconch at the Red Monastery. The category of sacred spectating is the interpretive lens through which I view this building.
Temple University--Theses
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Fassie, Vanessa Laure. "reunion: A Journey Through History, Symbolism, and Fear." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/794.
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The contents here in examine the artistic process undertaken by Vanessa Fassie to create the mixed media work, reunion. The subjects of fear, archetypal symbolism, personal and collective histories were examined through research, archival evidence, video, sound, movement, and installation. reunion, examines not only the powers of personal and collective histories through the symbolic language of archetypes, but also how fear manifests and evolves through time. The culmination of this work was the creation of an installation within the Anderson Gallery at Virginia Commonwealth University. This Thesis was created through the use of Microsoft Word 2004.
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Leyva-Perez, Irina. "Alchemy and Symbolism in the Work of Carlos Estevez." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/740.
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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.
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Yoder, Abigail Eileen. "Decoration and symbolism in the late works of Odilon Redon." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2300.
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From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative works - highly ornamental paintings with decorative subject matter that were conceived of by the artist himself as decorations. Yet despite the fact that decorative works made up a significant portion of Redon's late oeuvre, he is rarely considered as a major figure within the decorative arts movement at the turn of the century, unlike his contemporaries Paul Gauguin and the Nabis. His close involvement with these artists, as well as his affiliation with a number of the same important critics, makes his exclusion from discussion of the decorative revival all the more surprising. There has been very little scholarship on Redon's decorative works that consider them in in relation to the international decorative movement. Nevertheless, his late works actively engaged with the avant-garde aesthetic theories of the time. My dissertation will place Redon in the context of the decorative and Symbolist art movements by examining the profusion of decorative projects with which he was involved during the last decades of his career. By considering important themes within these movements, like elevation of craft arts, the encouragement of floral designs, the revival of religious and mythological subject matter, and principles regarding the unification of the arts, I argue that Redon warrants consideration as a decorative painter at the turn of the century in France.
My first chapter introduces the idea of the decorative revival in the nineteenth century, and considers the way the definition of the term "decorative" evolved during the period. I also present the historiography of Redon scholarship, as it relates to his decorative works. The second chapter examines the historical background of the decorative and Symbolist movements in the nineteenth century. I focus first on the pan-European decorative revival, especially in England and Belgium, then examining how this influenced French art. The Symbolist artistic movement developed simultaneously, and as such, I will examine the ways in which the two movements overlapped. Finally, I consider how Redon's artistic development was affected in this aesthetic climate.
Subsequent chapters examine specific themes in Redon's decorative oeuvre, and how these related to ideas and undercurrents in the general decorative and Symbolist art movements. Chapter three focuses on flowers and nature as decoration, exploring the increase of floral imagery in both decoration and Symbolist painting, and how Redon adapted his own artistic language from these influences. Chapter four examines the revival of traditional imagery from religious and mythological subjects, as well as occultist themes, and explores the way Redon used his decorative style to create new symbolic meanings for these themes. Chapter five focuses on Redon's murals at the Abbaye de Fontfroide, in which I argue that they represent a modern Gesamtkunstwerk. My final chapter underscores Redon's place within the decorative and Symbolist movements and examines the influence he exerted on his contemporaries through his use of the decorative arts.
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Montagno-Leahy, Lisa. "Private tomb reliefs of the late period from Lower Egypt." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:3b3699de-8498-4021-bf5f-b35fcf1cf33c.
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This study considers the relief decoration of private tombs in Lower Egypt in the period 664-332 BC. The basis for analysis is a chronologically arranged descriptive catalogue, which includes both isolated blocks in museum collections and tombs whose location is known. The present condition of the relief and its content are described in detail there. Texts are considered where they provide infotmation on provenance and dating, and hand-copies are provided. Each piece is illustrated in the plate volume. Enough of the material can be dated by textual evidence to provide a solid framework for stylistic ordering of the remainder. The resulting chronology has important implications, dividing the period into two major phases, covering the seventh and sixth centuries, and the fourth century, separated by a hiatus in production of tomb reliefs. The chronology proposed eliminates the possibility that either Greeks or Persians exercised any significant influence on Egyptian art before the very end of the period. Instead, native tradition emerges as the primary inspiration for Late Period artists. Two sources stand out. The first is the Old-Middle Kingdom tomb repertory (archaism), the second is the New Kingdom tradition carried on in the minor arts, a source largely-ignored hitherto. These were not slavishly copied, but adapted and "modernized" to suit the taste of the time. The independence and creativity of Late Period artists is emphasized. A discussion of stylistic development in light of the dating system is given, and several themes are analyzed in detail as illustrations of the larger issues raised.
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Lantz, Lisa. "Katten i konsten på Nationalmuseum." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-981.
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The purpose of this science of Art History research paper is to find out the meaning of Cats in Art. I have limited my studies to the Nationalmuseums picture gallery and found forty paintings with cats. I have chosen sixteen of these to furthur analyze typographically and chronologically from a symbolic perspective. The forty paintings from the Nationalmuseum were created during four centuries, with the first being painted in the Sixteenth Century. I have studied the cats dimensional placement in the picture, if the cat is in an outdoor or indoor environment, with people and if the cat is active or passive. I have studied which color the cat has in the motive, if it is painted on the left or right side of the picture and if the cat as at symbol enhances the motives.
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Peters, Erin A. "Egypt in empire: Augustan temple art and architecture at Karnak, Philae, Kalabsha, Dendur, and Alexandria." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5601.
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This dissertation explores interchanges and connections between Rome and Egypt that occurred during the four decades immediately following Egypt’s annexation into the Roman Empire in 30 B.C.E. The dissertation focuses on five temple precincts that were expanded under the first Roman emperor, Augustus (27 B.C.E.–14 C.E.), who as new ruler of Egypt, continued the venerable practice of building cult temples. In order to gauge the level of imperial support and analyze how local and imperial precedents were combined at temple sites, the dissertation compares the built space at sacred sites in three regions. The comparison reveals programmatic emphasis on areas where public worship occurred over inaccessible areas reserved for the gods, and that the combination of local and imperial elements strengthened cultic connections to each region’s center. Five chapters demonstrate temples in the Augustan period were created to encourage continued public use and worship by forming space where public veneration could be carried out, and by integrating pharaonic and imperial elements appropriate for the temple precincts’ transcultural local and visiting audience. This analysis indicates that temples in Augustan Egypt, like those in other areas of the Roman world, were tied to the existing traditions of the local community, engaged with new imperial elements, and were designed to encourage public involvement and continued use. Through encouragement by Augustus and his advisors, religion and culture mediated change as Egypt was annexed as a Roman province.
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Forsell, Vincent. "In Plain Sight: Queer Symbolism Encoded in the Works of Marsden Hartley, Robert Rauschenberg, and Jasper Johns." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593485.
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Art HistoryM.A.
Homoerotic images date back as early as 800 BCE in Persian art. Examples of homoeroticism in the arts continue in the works of the Greeks and Romans. A sharp decline in the subject coincided with the rise of Christianity and the demonization of homosexuality in Europe between 300-1000 CE. This notion of homosexuality as depraved and sinful behavior became embedded in European culture for over a millennium, and some parts of the world still believe this to be true. Criminalization of homosexuality forced most homosexual artists to hide any references to their own sexuality in their works, a practice known as “encoding,” which allowed for symbols to be hidden “in plain sight” and without context. Among the most prominent mainstream artists to utilize homosexual coding in his work was the modern American artist Marsden Hartley. Through the hidden symbols in the 1914-1915 “War Images” of his “Amerika” series, Hartley expressed his grief for his likely lover Karl van Freyberg, who had passed away following the outbreak of the Great War in 1914. Following in the footsteps of Hartley queer artists working in later generations utilized similar methods of encoding to express their sexuality in a guarded fashion. Operating in the 1950s and 60s, the artists Robert Rauschenberg and Jasper Johns used varying methods of encoding to disguise references to their sexuality in their work. Such encoding would become a major theme of the “queer aesthetic,” where queer artists encoded symbols through semiotic methods such as floating or dual signifiers to convey their homosexuality in a covert way. In pioneering the concept of encoding, Marsden Hartley gave several generations of artists a means of expressing their sexuality in their works without being fully “out of the closet,” or revealing their sexual identity.
Temple University--Theses
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Labrousse, Audran. "Recherches architecturales sur les pyramides a textes de saqqarah." Paris 4, 1988. http://www.theses.fr/1987PA040426.
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La premiere partie de ces recherches porte sur l'etude de l'architecture des dernieres pyramides de l'ancien empire d'egypte, celles des rois ounas, teti, pepi 1er, merenre et pepi ii (fin de la cinquieme et sixieme dynastie, environ 2355-2160 av. J. C. ). La seconde partie analyse la construction interne de ces monuments pour tenter de mieux en saisir la fonction. On voit se stabiliser une architecture symbolique, qui, associee desormais aux "textes des pyramides" correspond a l'aboutissement des tentatives menees par les architectes-theologiens depuis le debut de la troisieme dynastie (environ 2640 av. J. C. ) pour assurer au tombeau royal le maximum d'efficacite spirituelle. Les nouvelles donnees archeologiques revelees par l'etude des enterrements royaux suggere une approche historique plus nuancee, notament sur la duree des regnesTHE FIRST PART OF THESE RESEARCH INDUCE AN ARCHITECTURAL STUDY OF THE LAST PYRAMIDS OF THE EGYPTIAN OLD KINGDOM, THOSE OF THE KINGS UNIS, TETI, PEPI THE IST, MERENRA AND PEPI THE IIND (END OF THE FITH AND SIXTH DYNASTY, CIRCA 2355-2160 B. C. ). THE SECOND PART ANALYSE THE INTERNAL BUILDING OF THE MONUMENTS IN ORDER TO TRY AN UNDERSTANDING OF ITS FONCTION. FROM NOW ON AND IN ASSOCIATION WITH THE "PYRAMID TEXTS", A MORE SYMBOLIC ARCHITECTURE BECOMES STABLE, AS A FULFILMENT OF THE ATTEMPS CARRIED BY THE ARCHITECTS THEOLOGISTS SINCE THE BEGINNING OF THE THIRD DYNASTY (CIRCA 2640 B. C. ), TO SECURE THE ROYAL TOMB WITH A MAXIMUM OF SPIRITUAL EFFICIENCY. THE NEW ARCHAEOLOGICAL DATA, REVELED BY THE STUDY OF THE ROYAL BURIALS, SUGGEST A DIFFERENT HISTORICAL APPROACH SPECIALY FOR THE length OF THE REIGNS
Books on the topic "Symbolism in art Egypt History"
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Gibson, Clare. The hidden life of ancient Egypt: Decoding the secrets of the lost world. Glasgow: Saraband, 2009.
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The hidden life of ancient Egypt: Decoding the secrets of the lost world. New York: Fall River Press, 2009.
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Symbol & Magic in Egyptian Art. New York, N.Y: Thames and Hudson, 1994.
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Symbolism in the representation of royal children during the New Kingdom. Oxford: Archaeopress, 2011.
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Wilkinson, Richard H. Symbol & magic in Egyptian art. London: Thames and Hudson, 1994.
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The crown of Arsinoë II: The creation of an imagery of authority. Oxford: Oxbow Books, 2012.
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Owusu, Heike. Symbols of Egypt. New York: Sterling Pub., 2000.
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Lapwings and Libyans in ancient Egypt. Oxford: DE Publications, 1986.
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Canaan and Canaanite in ancient Egypt. [Oxford]: [DE Publications], 1989.
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Raphael, Elaine. Drawing history: Ancient Egypt. New York: Watts, 1989.
Find full textBook chapters on the topic "Symbolism in art Egypt History"
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"Case VIII — The Flight into Egypt." In Technical Art History, 75–85. WORLD SCIENTIFIC (EUROPE), 2021. http://dx.doi.org/10.1142/9781786349408_0008.
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Arnold, Dana. "6. Reading art." In Art History: A Very Short Introduction, 102–15. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.003.0006.
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‘Reading art’ discusses the idea of meaning in art, in particular of the quality and kinds of representation, and the use of iconography, or symbolism, in artworks throughout history. Focusing on figurative representation of the human form, it introduces some ways in which artworks themselves can be the starting point for how we read art history. Subject matter, materials, and methods combine in the process of reading art. A combination of different ways of writing, presenting, and thinking about art history converges on the works themselves to show how important it is to not lose sight of these objects and how art can indeed have a history.
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"John Apokaukos: An Epigram on a Depiction of St. Mary of Egypt." In Sources for Byzantine Art History, 1074–78. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.0101.
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Zarcone, Thierry. "The Lion of Ali in Anatolia: History, Symbolism and Iconology." In The Art and Material Culture of Iranian Shi’ism. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755610709.0013.
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Canby, Sheila. "The Royal Hunt in Islamic Art: a Symbol of Power or an Enduring Image?" In Regime Change in the Ancient Near East and Egypt. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263907.003.0007.
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This chapter examines the imagery of the royal hunt in the Middle East and particularly Iran from the seventh to the nineteenth century. It attempts to determine whether the strength of the association of hunting with kingship underlies the enduring symbolism of the king as the supreme hunter, or whether the power of the visual motifs was so compelling that they ensured the continuity of the royal hunter in the visual arts of the Islamic world. It concludes that the attitudes to the depiction of royal hunts in Islamic Iran depended to a great extent on who was in power and how they wished to be perceived.
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El-Meligi, Amin A. "History of Nanomaterials and Nanotechnology." In The Art of Nanomaterials, 1–16. BENTHAM SCIENCE PUBLISHERS, 2022. http://dx.doi.org/10.2174/9781681089706122010003.
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The secret of nanomaterials is not the size of the particles, but it is in the applications of nanomaterials and the art of making. Nanotechnology is science, engineering, and technology conducted at the nanoscale, which is about 1 to 100 nanometers. It is an amazing field dealing with very small size particles; imagine that a meter of cloth has been cut into a billion pieces (1 meter =109 nm). Thousands of years ago, the monuments were fabricated and reflected the art and coloures of paints. The Egyptian monuments reflect the beauty and art of paints in the papyrus papers, for example, the ancient pigment known as Egyptian blue may have important new applications in nanotechnology. Lotus flowers were once considered sacred in Egypt and parts of Asia. Significant advances in nanotechnology are helping researchers analyze the type of pigments used to paint mummy portraits in ancient Egypt. Scientists at Boise State University led by a Materials Science and Engineering Professor Darryl Butt, have taken a sliver of wood smaller than a human hair and extracted five extraordinarily tiny fragments—about 20 nanometers wide—and two thin foils of purple paint from a Romano-Egyptian mummy portrait dating to between A.D. 170 and 180. There is a new challenge facing the world, especially in the field of nanotechnology. It was stated by James Canton (2001) that if Nanotechnology, the manipulation of matter at the atomic level, at maturity achieves even a fraction of its promise, it will force the reassessment of global markets and Economies and industries on a scale never experienced before in human history. Nanotechnology will be discussed from all aspects of economics such as wages, employment, purchasing, pricing, capital, exchange rates, currencies, markets, supply and demand. Nanotechnology may well drive economic prosperity or at the least be an enabling factor in shaping productivity and global competitiveness.
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Mitchell, Peter. "A long and beyond the Nile." In The Donkey in Human History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749233.003.0009.
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If, as Herodotus stated, Egypt is the gift of the Nile, then it is a gift delivered largely by donkeys. Donkeys appear in the archaeological record of Egypt earlier than anywhere else. For over 6,000 years they have sustained some of the densest human populations on the planet, as well as supporting the development of one of the world’s first civilizations. Along the river, they have moved people, carried goods to market, threshed grain, and ploughed fields. They have been essential for extracting valuable metals and precious stones from the surrounding deserts and crucial for connecting Egypt with its neighbours. This chapter looks at all these themes. Additionally, it explores the symbolic significance that donkeys acquired in Egyptian thought, before considering their spread beyond the Nile into other parts of Africa. Faunal remains identified as donkey, rather than wild ass, are known from several sites of the Predynastic period that preceded Egypt’s development as a single state by about 3100 BC. During this period Egyptian society changed from being a series of small agricultural villages to a situation in which some of those settlements expanded into early towns, some of them seats of evermore competitive chieftains, others centres of craft production that were becoming heavily engaged in long-distance trade. This last point holds particularly true for several sites close to modern Cairo. It is from some of these, as we have seen, that the earliest donkey remains have been recovered: at El Omari c.4600–4400 BC and Maadi c.4000–3500 BC. A little later, one of the many carved slate ceremonial palettes produced during the later fourth millennium BC, the so- called Libyan (or Cities) Palette, shows a line of tame-looking donkeys between a row of cattle above and one of sheep below: though pictured with the dark shoulder stripe characteristic of wild asses, and without harness or loads, their context and demeanour suggest that they are domesticated. The kings of Egypt’s First and Second Dynasties (c.3085–2686 BC) reinforced their status by building monumental tomb complexes at Abydos in Upper Egypt and Saqqara outside Memphis, their new administrative and ceremonial centre just south of the apex of the Nile Delta.
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"Images of Late Antique Egypt in Twentieth-Century Art History." In Transfigurations of Hellenism, 9–36. BRILL, 2005. http://dx.doi.org/10.1163/9789047407317_007.
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"History, Society, and Art in Late Roman and Early Byzantine Egypt." In Transfigurations of Hellenism, 51–111. BRILL, 2005. http://dx.doi.org/10.1163/9789047407317_009.
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Taylor, Luke. "Recent Art History in Rock Country: Bark Painters Inspired by Rock Paintings." In Relating to Rock Art in the Contemporary World: Navigating Symbolism, Meaning, and Significance, 307–35. University Press of Colorado, 2016. http://dx.doi.org/10.5876/9781607324980.c013.
Full textConference papers on the topic "Symbolism in art Egypt History"
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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.
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JORDÁN, Régulo Franco. "Art, symbolism and power in Moche Society, North Coast of Peru." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-001.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Guerrero, Lorena. "A design look at heritage silverware. Case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.65.
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This participation presents the study of a pair of silverware lecterns from Nueva Granada, whose elaboration dates from the second half of the seventeenth century. Throughout the investigation, we made reflections about how the analysis of these artifacts, from the point of view of industrial design, allows us to see aspects that other disciplines study superficially, such as the close relationship between form, function and the production of an object. The objective of the research has been to understand the historical context of a society through the use of its objects, its symbolism and the dynamics of its manufacture. This research was developed in alliance with the Museo Colonial of Bogotá, which allowed direct access to the lecterns, a moment that constitutes a point of exploration; Unlike what can be the investigation of material culture from history or the history of art in its most traditional practices, the starting point is the artifact itself, which provides first-hand information both for its iconography and for its technical traces. Thanks to the iconographic analysis, it is possible to establish the "stories" contained in the pieces, and even their owners and context of use, despite the lack of regulatory colonial markings; Thanks to the observation of technical traces, it is possible to establish its production process and contrast it with current goldsmithing techniques. This contrast was made by the hand of an expert silversmith, which opened another look at the intangible heritage of the current trade of silversmithing in Colombia. Thanks to this study, it was possible to conclude that the role of silversmiths in New Granada was of vital importance for the purposes of the Spanish Crown to expand the Catholic religion throughout the Empire, thanks to its power in representation and capacity to capture the attention of the parishioners, due to the high level of decorative detail influenced by the Baroque movement. One of the most important aspects of the research was the development of different products that allowed the communication of the findings to different types of public: thus, the project had articles and participation in academic events, but also with the production of informative texts, museum material and a digital course in MOOC format, with audiovisual content. Therefore, this research is not only about the case study, but about how design can contribute from its own languages and resources to the recognition of the tangible and intangible heritage of a country.