Tesis sobre el tema "Religious images and art"
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Rask, Katherine. "Greek Devotional Images: Iconography and Interpretation in the Religious Arts". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338473387.
Texto completoDoolan, Lucas. "The sublime ruin enigmatic feminine : Master of Art & Design, 2007". Click here to access this resource online, 2007. http://hdl.handle.net/10292/420.
Texto completoMcGrath, Anthony Charles Ormond. "Books in art : the meaning and significance of images of books in Italian religious painting 1250–1400". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40255/.
Texto completoVelimirovic, Nada. "Reflections of the divine| Muslim, Christian and Jewish images on luster glazed ceramics in Late Medieval Iberia". Thesis, Graduate Theological Union, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10240733.
Texto completoFor eight centuries, from 711 until 1492, a unique combination of political, cultural, and faith traditions coexisted in the mostly southern region of the Iberian Peninsula now called Spain. From the thirteenth century through the fifteenth century, two key production centers of luster glazed ceramics emerged in this region: Islamic-ruled Málaga and Christian-ruled Valencia. Muslim artisans using Islamic decorative motifs on reflective luster glaze ceramics created objects that patrons, including nobility and Christian royalty, clamored to collect. Initially, traditional Islamic decorative motifs dominated luster glazed ceramic production by Muslim artisans in Málaga; eventually, these artisans used combinations of Islamic and Christian motifs. As wars raged near Málaga, Muslim artisans migrated to Valencia—some converting to Christianity. Here, luster glazed ceramics evolved to include combinations of Islamic and Christian motifs, and, in one example, Islamic and Jewish motifs.
This investigation of Iberian luster glazed ceramics examines religious decorative motifs and their meaning by using a methodology that combines material culture studies and art history. Material culture studies seeks: (1) To find value and meaning in everyday objects; and (2) To introduce the understanding that visual motifs communicate in a different way than texts. Additions from art historians augment the conceptual framework: (1) Alois Riegl’s concept of Kunstwollen—that every artistic expression and artifact that is produced is a distillation of the entirety of creator’s worldview; and (2) Oleg Grabar’s definition of Islamic art as one that overpowers and transforms ethnic or geographical traditions. In this dissertation, religious decorative elements on Iberian luster glazed ceramics are categorized as: (1) Floral and vegetative motifs; (2) Geometric symbols; (3) Figurative images; (4) Christian family coats of arms; and (5) Calligraphic inscriptions.
This dissertation will demonstrate how Muslim, Christian, and Jewish artisans used and combined the visual expressions of their respective faith traditions in motifs that appear on luster glazed ceramics created in the Iberian Peninsula under both Islamic and Christian ruled territories. Investigation of objects previously deemed not worthy of scholarly attention provides a more nuanced understanding of how religious co-existence (convivencia in Spanish) was negotiated in daily life.
Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.
Texto completoDonadieu-Rigaut, Dominique. "Penser en images les ordres religieux, XIIe-XVe siècles /". Paris : Éd. Arguments, 2005. http://catalogue.bnf.fr/ark:/12148/cb40072980c.
Texto completoEl-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.
Texto completoLaurens, Annie-France. "Hébé : images, mythes et cultes". Paris 10, 1985. http://www.theses.fr/1985PA100154.
Texto completoGillgren, Peter. "Gåva och själa : epitafiemåleriet under stormaktstiden /". Uppsala : Univ, 1995. http://catalogue.bnf.fr/ark:/12148/cb37705053b.
Texto completoDawson, Paula Heatley Art College of Fine Arts UNSW. "The Concrete Holographic Image: an Examination of Spatial and Temporal Properties and their Application in a Religious Art Work". Awarded by:University of New South Wales. School of Art, 2000. http://handle.unsw.edu.au/1959.4/18201.
Texto completoSmith, Gregory Brian y res cand@acu edu au. "Images of Salvation: A study in theology, poetry and rhetoric". Australian Catholic University. School of Theology, 2007. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp144.17052007.
Texto completoSaint-Martin, Isabelle. "Voir, savoir, croire : textes et tableaux dans les catéchismes en images (1800-1920)". Paris 7, 1998. http://www.theses.fr/1998PA070101.
Texto completoThe catechism taught through pictures is part of both the visual arts being associated with the holy and the catechism manual as it became popular during the protestant and the catholic Reformation alongside advances in alphabetization and in the culture of the written. Thus, it enacted a transmission of the faith in two different ways. If the first printed catechisms of Luther, Canisius and the Concile de Trente were quite early enhanced by illustrations, examples such as these would remain scarce till the 19th century. The popularization of new means of reproduction, such as engraving or lithography, and the changes in pedagogy, in particular the increasing interest in the 'teaching by sight', favoured the production of series of engraved plates in various formats and with various supports (e. G. Wall-hangings, albums, slides for magic lanterns…) which intended to give a summary of the christian doctrine in all its aspects through the picture. This thesis analyses the definition of these 'mixed objects' which combine texts and pictures through an examination that blends art history, history of publishing, religious practice and semiology with the aim of pointing out the caracteristics of a corpus which differs in its uses and its iconography from the ordinary illustrated catechisms or the images of devotion. Amongst others, the study of the 'Grand Catéchisme en images' de la Maison de la Bonne Presse, with its longevity (1884-1950) and its large influence even abroad (in Canada, China and in India…) emphasizes the attempt to engrave the religious lesson and also the imaginary museum of the faith into human memory through pictures. Contrasts and comparisons with other types of albums allows us finally to understand what learning to be a Christian, through these images, was like, and also to distinguish the various conceptions of man’s relationship with society and with the divine which are shown through specific uses of iconography
Levine, Adam. "The image of Christ in Late Antiquity : a case study in religious interaction". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:bf630377-9f51-4e53-bb6f-d60d750745d3.
Texto completoBalondrade, Bruno. "Pastorale tridentine et iconographie religieuse dans le diocèse de Bordeaux (1560-1789) : retables, images, mobilier et ornements de culte, les images entre l'iconoclasme protestant et l'équivoque maçonnique". Bordeaux 3, 2011. http://www.theses.fr/2011BOR30040.
Texto completoFaure, Philippe. "Les cieux ouverts : les anges et leurs images dans le christianisme médiéval (XIe-XIIIe siècle) : étude d'anthropologie et d'iconographie religieuse". Paris, EHESS, 1994. http://www.theses.fr/1994EHES0307.
Texto completoThe aim of this thesis is the study of the relationship between angels and men during the middle ages, in the latin christianism. This research is commanded by anthropological history. The purpose is to show the coherency of this system of representation and to explain it. The most important documents come from visionary literature, lives of saints and pictures from illuminated manuscripts. This study reveals an "angelophanic system", based on the mythic sense of angelology. The angels possess abilities in disposing, they are considered as models and initiators in the monastic culture, which designs the features of the "angelic anthropology". But this system gets somehow altered by degrees. For instance, the character of the guardian angel makes his apearance, the number of angels increases, their features get more humanlike. Here are some important marks of a more tightened link between the angel and the man, marks of a deeper understanding of hierarchy. But we also notice as well the lessening of the angel's theophanic meaning. At the end of the middle ages, the angel became a motive of decorative theme, disconnected from its biblical origin
Savieto, Mônica Carolina. "Catolicismos crioulizados: presença centro africana na região do Vale do Paraíba (SP)". Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/12666.
Texto completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
Catholicism, in the region of the Vale do Paraíba, throughout the century XIX, got by profound changes. This originality, resulting from the african presence, is remarkable in religious feast of the region even today. This research approach this originality through statuary catholic saints called nó de pinho. The central african presence in the Valley was grimpsed through images of saint nó de pinho, religious festivals, local newspapers, historical demographic data and historic photos. To undestand how groups of enslaved africans taking itself cultural elements which have been imposed the catholicism - translating and creating Áfricas in Brazil, means to focus new subjects historical, new communities and new social dynamics
O catolicismo, na região do Vale do Paraíba, ao longo do século XIX, passou por profundas mudanças. Esta originalidade, resultante da presença africana, é notável ainda hoje em festas religiosas da região. A presente pesquisa procura abordar esta originalidade através da estatuária de santos católicos denominados nó de pinho. A presença centro africana no Vale foi vislumbrada através de imagens nó de pinho, de festas religiosas, de jornais locais, de dados de demografia história e fotografias históricas. Compreender como grupos de africanos escravizados tomaram para si elementos culturais que lhes foram impostos - o catolicismo traduzindo e criando Áfricas no Brasil, significa enfocar novos sujeitos históricos, novas comunidades e novas dinâmicas sociais
Sbeghen, Jo-Anne Maree. "An analysis of the sculpture of Candi Sukuh in Central Java : its meanings and religious functions 1437-1443 C.E. / Jo-Anne Maree Sbeghen". [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18558.pdf.
Texto completoChandrasekhar, Chaya. "Pāla-Period Buddha Images: their hands, hand gestures, and hand-held attributes". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092830047.
Texto completoLuk, Yu Ping. "Empresses, religious practice and the imperial image in Ming China : the Ordination Scroll of Empress Zhang (1493)". Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:797fc7ce-34c7-4af3-a96d-928cec15098a.
Texto completoWorley, Taylor. "Theology and contemporary visual art : making dialogue possible". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.
Texto completoCucuzzella, Jean Moore. "The Destruction of the Imagery of Saint Thomas Becket". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278647/.
Texto completoLe, Luel Nathalie Barral i. Altet Xavier. "Le portail Saint-Ursin de Bourges recherches sur l'iconographie profane en façade des églises romanes /". Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseLeLueldiffusable.pdf.
Texto completoGranados, Salinas Rosario. "Fervent Faith. Devotion, Aesthetics, and Society in the Cult of Our Lady of Remedios (Mexico, 1520-1811)". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10398.
Texto completoHistory of Art and Architecture
Gibbs, Donna L. "Organizational Restructuring and the Process of Image Making: An Arts-based Inquiry of the Image Making Experiences Provided for the Delegates of a Religious Congregation Involved in Restructuring". Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/51.
Texto completoRoche, Lucile. "L'ombre de Dieu : représenter la Création du monde en France (1610-1789)". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H039.
Texto completo“In the beginning God created Heaven and Earth”. Opening of the first chapter of the Genesis,the most well-known incipit of all time sums up both the imagery and the main idea of the Creation of the World that has existed in the west for thousands of years. However, this biblical conception of Creation starts to weaken in the beginning of the XVIIth century and to expand to embrace scientific views when secular ideas of evolution or the laws of mechanics shook the biblical tradition of the six-Day Creation narrative. The once unique idea of a World Creation becomes a more complex concept at the crossroads between sacred and profaneand authorized innovative pictures representing, for example, God blowing the Cartesian cosmogenic whirlpools or giving thrust to the terrestrial mechanism inspired by Voltaire. When the groundbreaking theories on the Creation were published, it was necessary to focus on the artistic reinterpretations of the myth. Based on a great diversity of images – biblical, scientific,alchemical – we’ll try to analyze how biblical iconography stands still at the time of the global secularization of the world in which, as a paradoxical authority or an unconscious standard, the image of the Creator holds up the complex relationship between Man and his Mythology
Mohammad-Zadeh, Mehdi. "L'iconographie chiite des Qâdjârs : émergence, sources et développement". Paris, EPHE, 2008. http://www.theses.fr/2008EPHE5021.
Texto completoThis PhD thesis is studying the genesis and the special characteristics of the Shiite iconography, to present an outline of its progress and report on its operation within the Iranian society at the time of qâdjârs (1796-1925). The Shiite iconography in Iran of qâdjârs, analysed in detail in five parts of this work, was presented in its dealings with the literary genres of representation of saints and stages of its evolution chronological on the one hand, and detailed presentation of its main themes and his sources of inspiration on the other hand. In this study, the representation of saints is seen in its iranian, shiite, historical and sociological context. Therefore, it took account of three methods of approaching the shiite icon ; a theology and history, a technique and its evolution and, finally, an aesthetic and its structures. The work consequently aims to introduce and analyse how the religious imagery was born n Iran of Qâdjârs and was defined during this time
Henderson, Lucia. "Producer of the living, eater of the dead : revealing Tlaltecuhtli, the two-faced Aztec earth /". Oxford : Archaeopress, 2007. http://www.loc.gov/catdir/toc/fy0801/2007408618.html.
Texto completoJúnior, Iron Mendes de Araújo. "O papel das imagens sacras na religiosidade: análise das obras do Museu de Arte Sacra de Pernambuco e igrejas do sítio histórico de Olinda". Universidade Católica de Pernambuco, 2016. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1244.
Texto completoThis paper analyzes the importance of some sacred sculptures, belonging to the Sacred Art Museum of Pernambuco - MASPE as well as some parts of Olinda's historical site Churches, as objects that shelter in their relevant elements symbols for the historical understanding of religious formation and Brazilian culture. Therefore, we reassemble the formation of Brazilian Catholicism that makes up part of the national culture through historical research. To contextualize the historical component resort to authors who reflect on the formation of Catholicism and, consequently, the Church in Brazil, because to understand the sculptures had to first understand the historical process where they were built. After the historical reconstruction, we analyze the elements, cultural - symbolic, which summarized the socio-cultural and devotional extracts resplendent in pieces, trying to thus demonstrate the importance of this heritage, which make up part of Brazilian cultural identity.
Ferraro, Séverine. "Les images de la vie terrestre de la Vierge dans l'art mural (peintures et mosaïques) en France et en Italie : des origines de l'iconographie chrétienne jusqu'au Concile de Trente". Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00841816.
Texto completoMotta, Valeria. "Le spectacle de la dévotion. Le sanctuaire de la Madone des Grâces de Mantoue : image votive et représentation (XVe-XVIIe siècles)". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0118.
Texto completoThe purpose of my doctoral thesis is to advance understanding of the process of production of votive images through the study of a set of sculptures exposed in the Sanctuary of Madonna delle Grazie, that is situated on the bank of the Mincio, some five miles west of Mantua. The extraordinary votive display that we can admire inside, is made up of fifty-three effigies representing the life-size donor, mostly dating from the sixteenth century and equipped with real accessories (clothing, ropes, devotional objects ...). These sculptures are placed into an architectural structure that is completely covered with wax anatomical ex-votos. The documents concerning the votive effigies have been linked with other rare sources of this practice in Italy. The fundamental aim is to show that these full-size sculptures has a conceptual dimension that overtakes the simple notion of offering. The devotional act in the Mantuan sanctuary consists in making the survivor recognisable through the realization of realistic images. In doing so, such act pose anthropological questions regarding the efficacy of this ritual and the effects that these sculptures arise in the devotional community. From a more interdisciplinary perspective, what became interesting was to understand the artistic discourses about resemblance and mimesis and about the meaning of pursuing this likeness to the devotee in the ex-voto ritual. This study is also based on several assumptions concerning the elements that compose the Madonna delle Grazie sanctuary: the scenographic architecture in which the sculptures are displayed, the wax decoration, the rhyming votive inscriptions of the effigies, the floral fresco of the vault. The pourpose of this work is to demonstrate how this "votive scenario" presents a dimension that goes beyond mere illustration of the miracle. This system forces us to reflect on the pluralistic and dynamic dimension of images. This dimension concerns the role of representation in the devotional practices of the modern period (15th-17th centuries), the ability of these sculptures to elicit reactions on the observer and their function within a complex network of social relations and symbolic exchanges which refer to the Gonzaga family, rulers of the city of Mantua, and the Franciscan friars that had the care of the sanctuary
Araújo, Júnior Iron Mendes de. "O papel das imagens sacras na religiosidade: análise das obras do Museu de Arte Sacra de Pernambuco e igrejas do sítio histórico de Olinda". Universidade Católica de Pernambuco, 2016. http://tede2.unicap.br:8080/handle/tede/396.
Texto completoThis paper analyzes the importance of some sacred sculptures, belonging to the Sacred Art Museum of Pernambuco - MASPE as well as some parts of Olinda's historical site Churches, as objects that shelter in their relevant elements symbols for the historical understanding of religious formation and Brazilian culture. Therefore, we reassemble the formation of Brazilian Catholicism that makes up part of the national culture through historical research. To contextualize the historical component resort to authors who reflect on the formation of Catholicism and, consequently, the Church in Brazil, because to understand the sculptures had to first understand the historical process where they were built. After the historical reconstruction, we analyze the elements, cultural - symbolic, which summarized the socio-cultural and devotional extracts resplendent in pieces, trying to thus demonstrate the importance of this heritage, which make up part of Brazilian cultural identity.
Este trabalho analisa a importância de algumas esculturas sacras, pertencentes ao Museu de Arte Sacra de Pernambuco MASPE, bem como algumas peças de Igrejas do sítio histórico de Olinda, como objetos que resguardam em seus símbolos elementos de relevância para a compreensão histórica da formação religiosa e cultural brasileira. Para tanto, remontamos a formação do catolicismo brasileiro que compõe parte da cultura nacional, através da investigação histórica. Para contextualizarmos o componente histórico recorremos a autores que refletem, sobre a formação do catolicismo e, consequentemente, da Igreja no Brasil, pois para compreendermos as esculturas tivemos que primeiro entender o processo histórico onde as mesmas foram construídas. Após a reconstrução histórica, buscamos analisar os elementos, culturais simbólicos, que sintetizaram os extratos socioculturais e devocionais resplandecente nas peças, tentando, assim, demonstrar a importância desse patrimônio histórico, que compõem parte da identidade cultural brasileira.
Chamberland, Philippe. "Foi et images : enjeux spirituels et pédagogiques du tableau religieux dans les paroisses rurales au Bas-Canada. Deux études de cas à partir du fonds de tableaux Desjardins". Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25617.
Texto completoCollingridge, Lorna Marie y n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
Texto completoThomas, Romain. "La fiancée hollandaise. : images du mariage et usages sociaux, religieux et politiques de la symbolique matrimoniale dans les Provinces-Unies au XVIIe siècle". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20094.
Texto completo"Iconic" society par excellence, the United Provinces in the seventeenth century is a place where images play a tremendous role in daily life. Meanwhile, marriage is an institution at the heart of a rehabilitation process and of a differentiation process of confessional identities involving dogmatic and disciplinary provisions. It is also a fundamental anthropological experience, experienced by everybody in the society, be it as actor or spectator. In this perspective, the matrimonial images pervade the whole visual culture of Dutch society and are at the crossroads of social, religious and political issues, at different scales, through the symbolics they involve and the social uses they are submitted to. How are confessional differences articulated to them? How are social distinctions manifested? What symbolic benefits do social actors get out of visual metaphors of marriage? Finally, how do these images interact with the reader-viewer? Through a diverse corpus of sources (illustrated books or pamphlets, single-leaf engravings, but also paintings and medals), the thesis addresses these questions by examining successively how images accompany prescriptive discourses on marriage, how they are involved in the urban elites weddings and during wedding festivities for princes, but also how they can metaphorically embody the link between the believer and God, or, paradoxically, that between the Prince of Orange and the Fatherland, in a political system claimed to be a Republic
Dagalita, Cristina. "En .I. lieu desert, plain de montagnes : les images et la commande d’oeuvres d’art pour les chartreuses médiévales (fin du XIe siècle - début du XVIe siècle)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040139.
Texto completoFollowing the foundation of the first charterhouse by Bruno of Cologne, in 1084, in the Alps, these monasteries, established at first in solitary places, were well-known for their austere conditions. The monks, which had taken a vow of silence, lived isolated in their cells most of the time, meeting each other only twice a day, to celebrate mass. In these monasteries, characterized by their own architecture, the first mentions of artworks, in the legislation, date from the second half of the 13th century. At that time, the structure of the order was being revised by taking into account the multiplication of the charterhouses. Furthermore, the first foundations near cities were then established. This proximity to urban centres would determine a new relationship between Carthusians and their benefactors, visible through the donations of works of art for commemoration. From the charterhouse of Vauvert, established near Paris in 1259, have been preserved mostly drawings of memorial tablets or tombs. Nonetheless, for the princely and royal charterhouses of Champmol and Miraflores, that were to house the tombs of their founders, the commissions of works of art were more varied. The Carthusians’ participation in building the appearance of their monasteries is attested by the sources. This fact may also be observed when the Carthusians received donations of works of art from several benefactors and a special significance is attached to it when the brothers themselves commissioned paintings. In Carthusian spirituality, works of art had a role about which the monks, by involving themselves in their creation, could inform us
Pereira, André Luiz Tavares 1972. "A constituição do programa iconografico das irmandades de clerigos seculares no Brasil e em Portugal no seculo XVIII : estudos de caso". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280540.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII
Doutorado
Historia da Arte
Doutor em História
Laroche, Ginette. "L'iconographie jésuite et ses implications cultuelles dans l'art et la religion des Québécois (1842-1968)". Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/17611.
Texto completoPoole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.
Texto completoMontoya, Manuel. "Le peintre herméneute : théorétique et théologie de l'image dans la peinture espagnole des siècles d'or (1560-1730)". Montpellier 3, 1998. http://www.theses.fr/1998MON30002.
Texto completoThe influence of the council of trent in the aesthetic context of the 16th and 17th centuries is usually discussed without knowing what the counter-reformation had an effect on. The 25th session of the council is totally silent on the matter, and explains nothing since it is only interested in the worldly impact of the image. It is however to this session alone that art historians refer. Nevertheless, the discussions of the 2nd and 3rd periods devoted to the effective presence of sense in the eucharistic sign inform us on the possible influence of this debate on spanish treatises of painting that wished to dispute the platonic contradiction, and to bring out, at all costs, the plastic sign of the material referent. After a study of numerous works (approximately 600) published in the course of a period that goes from 1560, the date of the first major spanish treatise, to 1730, the date of the last "baroque" work, the study sets out to show that the realism of spanish painting, proclaimed by art historians, is only an illusion, and that "mannerism" and "baroque" are "invented" modern concepts which have no raison d'etre and explain absolutely nothing. And moreover, that the whole of spanish aesthetic theory and practice, through emblematic works, tried, in their way, to resolve the apparent contradiction between sign and object, by presenting painting as a system of knowledge rather than recognition which placed it in a much wider perspective, that of illation, which has its origins in the 13th century in st thomas aquinas, and even in the 4th century in the thought of st augustine
Woolson, Ash Kyrie. "Untitled Media Images". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306961851.
Texto completoNeuilly, Elise-Annunziata. "Des Vertus et du roi : relectures d'une iconographie du gouvernement : France-Italie, XIIIe-XVIIe siècles". Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH041.
Texto completoMy doctoral work in the history of medieval art unfolds from a multistep process. Based on the initial finding pertaining to the pervasive use of an iconography of Virtues in the Middle Ages, something specific emerged: its presence in sites of government, as well as its common association with the powerful, be it in the civic or religious spheres. The powerful encompasses here individuals representing various types of government existing during the medieval era in the western world. These are kings, princes, members of royal families, religious and lay dignitaries, as well as tyrants and, on the other end of the spectrum, representatives of local governments. All these characters are surrounded by imagery, including of Virtues. Virtues are painted on the walls of the physical sites of governance, they are on the pages of manuscripts written for (future) governors, they are incarnated by young girls during large public demonstrations honoring the king.Virtues are also chosen as decoration for the tombs of the kings of France and the princes of the Church, in order to illustrate the Good government held by the deceased. More than ninety such royal and princely tombs showcasing Virtues – mostly cardinals, but not exclusively – are still standing. Many narratives attest to the existence of many more, now destroyed, during the period starting at the end of the 13th century, until the 17th, mostly in France and Italy. As such, over a period of four centuries, an excess of one hundred lay and religious governing individuals were buried in a similar iconographic ensemble, in which Virtues constitute a dominant aspect – as a reminder, the adjective “cardinal” stems from the Latin cardo, the hinge – in the visual vocabulary.Accordingly, this dissertation seeks to demonstrate that the use of Virtues serves the political goal of visual communication set by the sponsor of the art, himself usually in a governing position. I examine the occurrence of Virtues in the specific framework of power, and I demonstrate how Virtues are an integral part of the “vocabulary” of visual discourses of legitimation, self-justification, self-glorification, with the goal of illustrating the reigning Good government. An analysis focused on governing sites allows to establish that the iconographic vocabulary of those in power is shared throughout various European courts, as well as varied types of government, and this, during four centuries
Linton, Jerry. "Chance images". Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9862.
Texto completoQuine, Dany. "L'analyse phénoménologique et structurale de l'art sacré et la fonction sociale du mysticisme". Doctoral thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/33515.
Texto completoMontréal Trigonix inc. 2018
Davis, David Jonathan. "Picturing the invisible : religious printed images in Elizabethan England". Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/85653.
Texto completoBateman, Vivienne Margaret. "The themes and images of classical Gaelic religious poetry". Thesis, University of Aberdeen, 1990. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU032963.
Texto completoD'Elia, Una Roman. "The poetics of Titian's religious paintings /". Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.
Texto completoStrandberg, Åsa. "The Gazelle in Ancient Egyptian Art : Image and Meaning". Doctoral thesis, Uppsala universitet, Egyptologi, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107642.
Texto completoAndreopoulos, Andreas. "The death of art : the transformation of art from a religious perspective". Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4089/.
Texto completoLamontagne, Emmanuel. "Les représentations du Sacré Cœur de Jésus : les petites images pieuses en «dentelles mécaniques» au Québec au XIXe et au début du XXe siècle : un outil visuellement et textuellement performant au service de la diffusion de la dévotion". Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/70387.
Texto completoBashir, Majedah. "Floral images in metal". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724965.
Texto completoDepartment of Art