Tesi: "Religious art"

1

D'Elia, Una Roman. "The poetics of Titian's religious paintings /". Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.

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2

Andreopoulos, Andreas. "The death of art : the transformation of art from a religious perspective". Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4089/.

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The hypothesis put forth in this dissertation is twofold. The first part is based on a view (supported by writers such as Hans Belting) that maintains that art lost its sacred character in the late Middle Ages, when art was emancipated from religion and the artist was recognized as an original Creator. The two first chapters examine this issue: The first chapter (A Religious View of the History of the Arts) discusses theories of religious art from the ancient Jewish drama and the Greek tragedy to the late Middle Ages. Psychological material, mostly drawn from Lacan and Jung, is used to explore the connection between art and religion in the East and the West. The second chapter {Anti-Leonardo) focuses on some important changes in the Renaissance which can be observed mostly in art, that have affected religious and social consciousness to date. The second part of the hypothesis is that contemporary philosophy and art, having witnessed the death of the author as it has been presented by writers such as Michel Foucault and Roland Barthes, are now registering the withdrawal of the work of art as an independent object, and the reversal of the Renaissance art paradigm. The withdrawal or "death" of the work of art and of art as a process are discussed in the third chapter {The Death of Art), which explores these issues in contemporary philosophy, and argues that contemporary art, popular and classical, is withdrawing as a distinct activity, giving its place to a growing religious awareness. The fourth chapter {The Religious Artist) examines the art and the views of some contemporary artists whose art expresses the return of the sacred. Particular emphasis is given to the art of the New Simplicity, an artistic trend that epitomizes the vanguard of art while expressing spiritual and religious contemporary concerns.

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3

Bernasconi, Gina. "Art and religious education: Seeking meaning in the sacred seriousness of art". Thesis, Australian Catholic University, 2006. https://acuresearchbank.acu.edu.au/download/4866d8aeffa87aa911cd9ec0550330f1da5a5413861095d66dc5812ac891d9b1/3609586/Bernasconi_2006_Art_and_religious_education_seeking_meaning_in.pdf.

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In relation to the post-compulsory religious education program of a Catholic secondary college for boys, this research study set out to ascertain the role of art as a medium for the self-revelation of God in the linking of aesthetic and religious experience. In other words, this research study proposed to provide a group of students with a space and opportunity for a ‘calling to attend’ experience of God; that is, an experience that was compelling. The theoretical framework called on two types of concepts: first, those related to the theological investigation of revelation and its connection with the aesthetic and religious experience; and secondly, those developed from current educational research and research into Religious Education paradigms. The development of this research study therefore: established the context within which the study was situated; discussed a theological framework from Hans Urs von Balthasar and its links with this research study; examined the theory of Bernard Lonergan that art was a carrier of meaning for religious experience; discussed the role of revelation, aesthetic and religious experience and the religious imagination located within the ‘graced nature’ concept of Catholic theology; and sought to determine the contribution such a learning experience could make to the religious development of post-compulsory students in a boys’ senior secondary college. This study operated within a constructivist paradigm using case study and qualitative research methods. A focus group provided the research instrument for data gathering and included: participant observation; field notes; focus group discussions; and transcript analysis of the taped conversations of participants. The findings of this research study provided direction for further research and practice in post-compulsory religious education classroom program.

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4

Moore, Ede Minna. "Religious art and Catholic reform in Italy, 1527-1546". Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395234.

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5

Berdini, Paolo. "The religious art of Jacopo Bassano : painting as visual exegesis /". Cambridge : Cambridge university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb37516663d.

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6

Haynes, Clare. "Pictures and Popery : religious art in England c. 1680-c. 1760". Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365024.

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During the first half of the `long' eighteenth century the English were, as a nation, vehemently anti-Catholic, yet the art that was most admired, collected and talked about, was Catholic in origin and subject matter (pictures showing the intercession of saints or the figure of God, for example). Such art might have been rejected by English collectors, certainly idolatry was chief among the heresies ascribed to the Papists, but the belief in the supremacy of Italian art was long-standing and tenacious in pan-European culture. The thesis demonstrates that rather than rejecting it, elaborate strategies were developed which allowed the cultural and social value of ownership and knowledge of this canonical art to accrue, whilst managing its potentially troubling content. For example, the royal ownership of the Raphael Cartoons (c. 1514) was a matter of increasing national pride during this period, which is surprising at first sight, given their provenance and their celebration of the apostolic succession of the Papacy from SS Peter and Paul. These meanings were not expunged from the Cartoons by English commentators, instead means were found to transpose them into a Protestant register and to maintain Raphael's reputation as the great universal artist. Each chapter of the thesis offers a different mode of address to the central theme, exploring, for example, the encounters grand tourists had with canonical art in Catholic churches in Rome and the ways in which the Catholic meanings of pictures were managed in a collection. In another chapter I explore how art was used and discussed within the Church of England. It has become clear that the Catholic associations of art did present a historically-significant political challenge to English connoisseurs and that, for example, new histories and theories of art, modified from their continental models, were developed to facilitate its acceptance. In addition, by paying careful attention to the ways in which issues of class, nationhood and culture were managed in relation to this problem, insights into the complex nature of anti-Catholicism in England have been gained.

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7

Amirmostofian, Parisa. "Art Therapy and Complex Trauma Related to Political and Religious Violence". Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/113.

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This study uses heuristic research as the basis for an art exploration into the experience of exposure to traumatic events leading to complex trauma, from early adolescence to adulthood. This paper reviews the existing literature about Islamic religious fundamentalism, political violence and war. The literature on risk factors and the effect on this type of trauma psychology, human rights and women’s rights are discussed. The literature review considers psychological treatment considerations and existing art therapy literature. In the data gathering phase the researcher employs the Art Therapy Trauma Protocol to examine the residual of violent experiences; this includes a series of paintings created using the bilateral stimulation process. After a period of incubation, the data is further culled and analyzed by using filtering with suggested symbolic meaning from various theorists and literature and personal interpretation drawn from dominant themes. This analysis happened during Illumination and Explication phases of the study. The finding of this study supports that the effect of the traumatic life experiences during adolescence has caused splitting in the researcher. This research asserts that using the art therapy method (ATTP) in combination with the heuristic methodology has helped the researcher to gain clarity about herself and provided a new perspective and schema about self and the world. The research process has helped the researcher to gain a holistic sense of herself as thriving after the traumatic life experiences rather switching between the split selves of the victim and survivor.

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8

Steinmetz, Mayumi Takanashi. "Artistic and Religious Aspects of Nosatsu (Senjafuda)". Thesis, University of Oregon, 1985. http://hdl.handle.net/1794/22962.

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195 pages
Nosatsu is both a graphic art object and a religious object. Until very recently, scholars have ignored nosatsu because of its associations with superstition and low-class, uneducated hobbyists. Recently, however, a new interest in nosatsu has revived because of its connections to ukiyo-e. Early in its history, nosatsu was regarded as a means of showing devotion toward the bodhisattva Kannon. However, during the Edo period, producing artistic nosatsu was emphasized more than religious devotion. There was a revival of interest in nosatsu during the Meiji and Taisho periods, and its current popularity suggests a national Japanese nostalgia toward traditional Japan. Using the religious, anthropological, and art historical perspectives, this theses will examine nosatsu and the practices associated with it, discuss reasons for the changes from period to period, and explore the heritage and the changing values of the Japanese common people.

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9

Jones, Ariane. "Giacomo Manzù as a religious artist". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55606.

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10

Jobbins, Robert. "The city of Jerusalem as an enduring metaphor in Western religious art". Thesis, University of Essex, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701866.

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The twin aspects of Jerusalem, the backdrop to the life of Christ and the setting for the end of time, co-existed in western Christian art from the earliest days. For much of the time one image captured both concepts and contained them in a tension that emphasised the decisive position of the city in Christian thought. Jerusalem, in all its possible meanings literal and metaphorical, was deeply embedded in the culture of the Medieval and early Renaissance West. Representations in the visual arts, including sculpture and architecture, drew inspiration from religious texts, meditations, liturgy, performance and pilgrimage; but iconographical and pictorial themes also provided continuous feedback. The interaction, or inter-animation, between different media was mutually reinforcinq. Collectively these different elements formed part of a memory world in which mnemonic coding was explicitly designed to consolidate this inter-action. A person kneeling at prayer before a painting with a meditational text drew information from both. The complexity ofthe relationship between depictions of Jerusalem in the visual arts and other manifestations of the city's importance in the wider religious and social context can be examined through individual paintings, the work of particular artists, and the connections to textual and liturgical sources in particular. In their depictions of Jerusalem, artists gradually complemented the metaphorical with recognisable topographical details. This development can be traced into the late fifteenth and early sixteenth centuries, when gradually metaphor began to re-assert itself- proving to be surprisingly resilient, surviving into the modern era in some unexpected ways.

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11

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.

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12

Zeidler, Sebastian Leonhardt. "Parmigianino studies : patronage, form and content of some early mannerist altarpieces and presentation drawings". Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314466.

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13

Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation". Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.

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14

Souza, Mateus Lima de. "Pentecostalismo e arte: uma análise no contexto brasileiro". Faculdades EST, 2014. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=654.

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O trabalho analisa o uso da arte no pentecostalismo brasileiro, abordando especificamente as artes visuais e a arquitetura, considerando esse uso nos espaços de culto e no ensino religioso. Parte-se da ideia de que a relação da fé pentecostal com as artes é marcada predominantemente pela rejeição, revelando uma preferência pelo iconoclasmo, pelo que se busca entender os motivos de tal rejeição e qual o espaço e o papel que essa mesma arte encontra no seio da religiosidade pentecostal. Ao mesmo tempo, acredita-se que o uso de iconografia no ensino religioso é uma exceção à postura iconoclástica. A primeira parte do trabalho estuda o desenvolvimento da arte iconográfica cristã e os principais movimentos de iconoclastia no Império Bizantino e a partir da Reforma protestante. A segunda parte traça um histórico do pentecostalismo brasileiro, desde suas origens em terras estrangeiras, relatando o surgimento e implantação das principais denominações pentecostais do País, cujos perfis são traçados, bem como arrolando uma série de características compartilhadas pela maioria dos grupos do segmento em questão. A terceira parte ocupa-se com o objetivo principal do trabalho, discutindo a relação do pentecostalismo com as artes, focando-se, primeiramente, nos espaços de culto. Para tanto, explica a evolução histórica dos templos cristãos, levando em conta aspectos artísticos e teológicos, e apresenta observações de mesma natureza sobre os templos pentecostais. São apresentados alguns motivos, teológicos, socioeconômicos e históricos que, hipoteticamente, contribuem para que o pentecostalismo adote uma postura iconoclástica, que, em sua versão menos radical, exclui de seus espaços de culto certas manifestações artísticas, como a escultura, ou com determinadas temáticas, como a reprodução da imagem humana. Discorre-se sobre o uso de arte figurativa na literatura voltada à educação religiosa, onde não se veem as mesmas limitações detectadas no caso dos templos. A postura do pentecostalismo brasileiro sugere rompimento com a tradição artística religiosa ocidental, a inexistência de uma arte sacra que lhe seja característica e um iconoclasmo resumido às casas de culto, uma vez que a educação religiosa abre-se para aplicações didáticas da arte iconográfica.
The work analyzes the use of art in Brazilian Pentecostalism, dealing specifically with the visual arts and architecture, considering this use in worship spaces and in religious education. One begins with the idea that the relation of the Pentecostal faith with the arts is predominantly marked by rejection, revealing a preference for iconoclasm, therefore one seeks to understand the motives for such a rejection and what space and role this same art encounters in the bosom of Pentecostal religiosity. At the same time it is believed that the use of iconography in religious education is an exception to the iconoclastic posture. The first part of the work studied the development of Christian iconographic art and the main movements of iconoclasty in the Byzantine Empire and from the Protestant Reformation. The second part outlines a history of Brazilian Pentecostalism, from its origins in foreign lands, telling of the emergence and implantation of the main Pentecostal denominations of the country, outlining their profiles, as well as listing a serious of characteristics shared by the majority of the groups of the segment in question. The third part occupies itself with the main goal of the work, discussing the relation of Pentecostalism with the arts, focusing, at first, on the worship spaces. For this it explains the historic evolution of the Christian temples, taking into account artistic and theological aspects, and presents observations of the same nature about Pentecostal temples. Some theological, socio-economic and historical motives are presented which hypothetically contributed to Pentecostalism adopting an iconoclastic posture, which, in its less radical version, excludes in its worship spaces certain artistic manifestations, such as sculptures, or those with certain themes, such as the reproduction of the human image. There is a discussion of the use of figurative art in the literature directed to religious education, where one does not see the same limitations detected in the case of the temples. The posture of Brazilian Pentecostalism suggests a break with the western religious artistic tradition, the inexistence of a sacred art that is characteristic of it and an iconoclasm restricted to the worship houses, since religious education opens itself to didactic applications of iconographic art.

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15

Raina, Seemin. "Teaching of Islamic Religious Art as an Aid to the Understanding of Islamic Culture". Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1156%5F1%5Fm.pdf&type=application/pdf.

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16

Devenish, Anne P. "The meaning of God today: A phenomenographic study of the art and language of a group of senior secondary students". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1205.

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Relationship with the Divine is the core of Christianity and the professional concern of a number of ministries, including that of religious education. Knowledge about what God means to children and adolescents would be beneficial to teachers. However, research has provided little useful information in this area. Most research conducted so far has been quantitative in nature and does not uncover the lived experience or the participants' personal understandings of this phenomenon. The qualitative research that has been done focuses mainly on the range of concepts of God held by participants. It is concerned with uncovering some of the elements that lead to the formation of these concepts, and not with determining which concepts are meaningful to respondents. This study sought to discover the nature of the meaning of God for a group of senior secondary students at a metropolitan Catholic high school. It focussed on such issues as what God is to these adolescents, what concepts of God are meaningful to them, what mediates God to them, and what influence God has on their lives. The purpose of this study was to provide teachers with useful information that could help to guide them in their educational endeavours. The theoretical paradigm adopted was that of critical liberal feminist theology. The research methodology was that of phenomenography. The methods used for the collection of data were drawing, journalling, and the in-depth interview.

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17

Gatti, Luca. "The art of freedom : meaning, civic identity and devotion in Early Renaissance Florence". Thesis, Birkbeck (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283367.

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18

Valleriani, Marco. "Religious themes, storytelling in Christian art and anticlerical strands in Dario Fo's Mistero Buffo". Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531313.

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19

Knoblock, Stacey Lee 1969. "The visual arts in Reform Jewish supplemental education: Art education beliefs and practices in context". Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/291961.

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This thesis examines the context, content and pedagogy of visual art education in the Reform Jewish supplemental religious school. The study was guided by three major research questions: (1) What beliefs about art education are held by Reform Jewish educators? (2) What is the form and content of existing art education practices in the supplemental religious school setting? (3) What do these Reform Jewish educators perceive as necessary for the enhancement of the art education component of their curriculum? A study of a Reform Jewish supplemental school was conducted by myself as a teacher/researcher. Also, a sample of professional Reform Jewish educators was surveyed to determine art education beliefs and practices in the supplemental religious school setting. Survey results suggest a discrepancy between survey participants beliefs and practices in art education and those advocated by art educators. Contextual factors common to these settings are found to hinder possibilities for comprehensive visual arts education in the supplemental religious school. The study asserts that Jewish art education curricula must be developed from a discipline-based art education perspective in order to use instructional time most effectively.

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20

Geddes, Helen Louise. "The marble altarpiece in Italy C. 1330 - C. 1420". Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367964.

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21

Gavril, Iuliana-Elena. "'Archi-texts' for contemplation in sixth-century Byzantium : the case of the Church of Hagia Sophia in Constantinople". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40497/.

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This thesis aims to contribute towards a better understanding of what the Byzantines experienced in church spaces. By thoroughly mapping users' encounters with the church of Hagia Sophia in Constantinople in the sixth-century, it examines whether the experience of the architectural space during the Eucharistic ritual augmented a religious experience, which in turn, influenced the way the Byzantines talked about their spiritual experience whilst being in a church, and thought of their churches as ‘heaven on earth.' It places textual evidence alongside architectural evidence. The basic approach of this thesis is rooted in phenomenology and multisensory perception of space. In the first chapter, I make a case for the necessity of studying the textual evidence in light of the spatial experience of the building. I suggest that the concept of ‘archi-text' is key to answering the question of what was a church in sixth-century Byzantium. Developed in three chapters, the textual analysis focuses on sixth-century ekphraseis of Hagia Sophia written by Procopius of Caesarea and Paul the Silentiary, and the inauguration kontakion composed for the church dedication. In the first two chapters, I examine how the spatial perception of the church influenced the way Hagia Sophia was described. In the next chapter, I explore how the Byzantines thought of the church in symbolic and theological terms. The literary analysis concludes that Hagia Sophia was perceived as a centralised space and represented as a ‘heaven on earth.' These two points are further scrutinized all through the spatial analysis of the church. The final chapter links the Byzantines' symbolic representation of the church to the architectural physicality of Hagia Sophia.

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22

Sharpe, Heather Fiona. "From Hieron and Oikos the religious and secular use of Hellenistic and Greek Imperial bronze statuettes /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210047.

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Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.
Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0754. Adviser: Wolf Rudolph. "Title from dissertation home page (viewed March 16, 2007)."

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23

Doolan, 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.

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This thesis explores through the creation of four artworks, the nature of the sublime ruin. To facilitate this it examines the disintegration of selected religious feminine metaphors. The artworks are rendered through a multiplication of layers bound by translucent/transparent resin. These are produced to examine the potentials between traditional craft and contemporary digital mediums, thus creating sites where eroding fragments may express an excess of meaning through enigmatic construction.

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24

Asbo, Kayleen Elizabeth. "Passion and paradox| The myths of Mary Magdalene in music, art and culture". Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3734016.

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Throughout the centuries, Mary Magdalene has occupied a unique position within the religious history of the West as the woman who has carried the collective Shadow of Christianity. In every epoch, Mary Magdalene stands at the crossroads of cultural tension and psychological paradox, holding countless images, projections and societal concerns, inspiring millions of acts of devotion and masterworks of art and music.

This dissertation explores the mythology of Mary Magdalene from her earliest appearances as the faithful witness, disciple and apostle in the New Testament and apocryphal gospels through her later legends as a prostitute, contemplative hermit, princess and priestess, with particular attention paid to artistic and musical portrayals. I suggest that the emerging composite portrait of the 21st century is a healing image of wholeness that integrates all four aspects of the female psyche articulated by Toni Wolff (the Hetaira, Mother, Medial and Amazon) and that Mary Magdalene points the way to a reclamation of the sacred feminine and a reinvigoration of spiritual life.

Magdalene as an icon and mirror of cultural transformation is evident in recent contemporary classical music works, particularly in Mark Adamo's opera The Gospel of Mary Magdalene. My experiences as resident mythologist for the San Francisco Opera during the world premiere of this work form the basis for my observations of the enormous transformational impact of images and stories of Mary Magdalene drawn from the apocryphal gospels and Gnostic tradition. Magdalene as woman who embodies anthropos, or full humanity, has become a catalyzing bridge for individual personal development and communities of diverse scholars and seekers.

This dissertation culminates with a multimedia dramatic production inspired by Medieval mystery plays. The Passion of Mary Magdalene interweaves Taize chants, instrumental music of Estonian composer Arvo Part, traditional Christian hymns and my original compositions with a text drawn from both the Canonical Gospel and the Gospel of Mary and includes images taken from pilgrimages to Mary Magdalene sites in France.

Key words: Magdalene- Christian spirituality- Gnostic-Sacred Feminine- Toni Wolff- Carl Jung

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25

Franses, Henri. "Portraits of patrons in Byzantine religious manuscripts". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22359.

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Byzantine religious manuscripts were commissioned by people from many levels of society. Several contain portraits of their commissioners, represented together with a holy figure. An analysis of these scenes, examining features such as the holy figures represented and their specific iconographic meaning, and the relation of mortal to divine, reveals many facets of Byzantine art, religion and society. This analysis indicates a major distinction between portraits representing the emperor, and those depicting all other patrons. Non-imperial portraits show deep personal devotion and piety. The manuscripts in which they occur were commissioned to honour the holy figure, and many request salvation in return. Imperial commissions, on the other hand, were not votive gifts. Their portraits stress the public, political, and occasionally religious role of the emperor as the elected of God upon earth, and head of state. These portraits are thus highly informative of several aspects of Byzantine life.

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26

Sakai, Nanako. "When the East meets the West| Art as a medium for religious and spiritual education". Thesis, Fordham University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10014283.

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As a Buddhist female from Japan who has lived in the United Sates for 15 years, I examine how Buddhist spirituality and aesthetics influence religious inspiration through woman’s eyes; in other words, from a feminist perspective to the “practice” of justice based on Buddhism. Hence, the driving questions of this dissertation are, how can we define beauty and spirituality from a feminist perspective so that they empower women’s voice through art, and what kind of contribution can this study provide to feminist scholarship in the West?

The study’s significance lies in its illustration of the concept of feminist aesthetics that nurtures spirituality based on Buddhism, Taoism and Asian traditional thought which are not well known to the Western world. Thus, through using art and feminist- based research, as well as symbolic interactionism as a perspective, principles for a feminist aesthetics theoretical model as a dimension of spiritual and religious education are generated based on Eastern thought.

The use of symbols and their interpretation are crucial to understanding the relationship between art and human perception which fosters awareness for social justice. Therefore, this study addresses the following questions: (1) What does Buddhist feminist aesthetics mean? (2) What are the characteristics of feminist ecology in Eastern thought? (3) How does Buddhist or Eastern feminist aesthetics contribute to eco-justice in the context of religious education? (4) In what ways can a theoretical model of Buddhist or Eastern feminist aesthetics enhance and contribute to foster spirituality as dimension of religious education in the West?

The dissertation has five chapters. The first chapter is an introduction to the study, while chapter two reviews art as a source of creating imagination. The third chapter describes Rima Fujita’s artistry based on an Eastern perspective of aesthetics. Chapter four reviews feminist theological aesthetics and suggests how a Buddhist feminist perspective can make a contribution to Western scholarship. The final chapter proposes educational application, in particular to interreligious education, which fosters spiritual growth. Drawing deeper insights from these and other scholars, a new perspective, which incorporates and contributes to Western scholarship is proposed.

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27

Studholme, Alma. "Being Fragmented and Being Whole: Explorations in Cognitive Sciences, Contemplative Religious Traditions, and Art Practice". Thesis, The University of Sydney, 2018. https://hdl.handle.net/2123/21306.

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Abstract (sommario):

Contemporary advances in cognitive sciences, and especially in cognitive neuroscience, caused a gradual but major shift of a paradigm within the humanities. From dualistic mind/body, subjective/objective, abstract/concrete, cognition/emotion approaches, the focus progressively moved toward embodied and enactive non-dualist perspective. The research chronicled by this thesis contributes to this current. It utilises both theory and praxis as methodological tools for instigating a dialogue between cognitive sciences and contemplative religious and art practices. Its primary concern is to re-examine these practices within the totality of the human condition in the context of cognitive sciences, offering a new perspective on some of the underlying processes that define us as human beings. Particular attention has been given to dynamic embodied processes inherent to the enactment of brain-body-environment meaning-structures and the formation of hexis. The experiential focus of the entire project completes its circle in the final, experimental part of the research that is illustrated by self-exegesis of the author’s own art practice, performed in part also as an “embodied enquiry” into contemplative religious traditions. This interaction between the theoretical and practical/performative research resulted in a particular contribution to knowledge: the new enactive methodological interpretative framework which was developed by drawing on the findings of cognitive sciences and is applicable to the studies in religion, as well as to the practice-based art research that preferences a self-reflective and a craft-based contemplative focus.

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28

Hawley, Jessica R. "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/34.

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Abstract (sommario):

Salvador Dalí was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. For the most part, Dalí is categorized as a Surrealist artist, yet in this essay, I also plan to explore other possibilities of influence that surrounded Salvador Dalí’s generation and inspirational background. Around 1941, Dalí’s work began to shift away from Surrealism and, instead, moved toward a more Classical style that contained many religious themes, a style which he called “Nuclear Mysticism” (Taylor 2008, 8). My interest in this subject stemmed from a visit to the High Museum of Art in Atlanta to see the exhibition “Dalí: The Late Work.” This exhibition contained highly regarded paintings such as Christ of Saint John of the Cross (1951), The Persistence of Memory (1931), and The Madonna of Port Lligat (first version, 1949). Seeing these paintings caused me to consider the possible situations, groups, and events occurring in 20th-century Spain and elsewhere that could have caused this transformation in Dalí’s art. In most of our minds, Dalí was an artist who painted amorphous figures and objects that would only exist within his dreams and unconscious state; yet, Dalí’s subject matter after the 1940s showed a remarkable consideration of figures and objects that are symbolic to the fundamentals of the Catholic tradition.

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29

Rye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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30

Guillen, Nunez Cesar Augusto. "The relation of the 17th century facade of the Jesuit Collegiate Church of Madre De Deuss, Macao, to retable-facades". Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265017.

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31

Myers, Summer Anne. "Visualizing the Transition Out of High-Demand Religions". Digital Commons at Loyola Marymount University and Loyola Law School, 2017. https://digitalcommons.lmu.edu/etd/321.

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Abstract (sommario):

This research uses a questionnaire and a bridge drawing directive to explore the lived experience of transitioning out of a high-demand religion. Subjects include disaffiliated Mormons, Jehovah’s Witnesses, and Fundamentalist Protestants who were recruited through a dedicated website via limited promotion in online communities for disaffiliates. Visual and textual responses are analyzed through qualitative coding, with additional analysis performed on the artwork using Hays and Lyons’ (1981) bridge drawing criteria. Results reveal the psychological, social, behavioral, identity, and existential effects of disaffiliation. Results also produce seven emergent themes: ambivalence; embracing uncertainty; social justice; simultaneous transitions; freedom and constraint; growth; and remaining ties. The paper then explores the subjects’ lived experiences, latent content in the artwork, and the role and value of artmaking in healing from these difficult transitions. Lastly, this paper discusses treatment considerations, limitations of the study, and suggestions for future research on religious struggles and disaffiliation.

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32

Phillips, William. "Extremist religious ideologies and military strategy /". Fort Leavenworth, KS : Army Command and General Staff College, 2006. http://stinet.dtic.mil/oai/oai?&verb=getRecord&metadataPrefix=html&identifier=ADA463803.

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33

McGrath, 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/.

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Abstract (sommario):

This thesis uses images of books in Italian art of the duecento and trecento as pictorial evidence for the appearance of books and to establish a chronology for changes in the detail and style of book-bindings during those two centuries. The conclusions from the pictorial evidence is that there were material differences in the appearance of books in the duecento and trecento and that gold tooling was used to decorate books from about 1320, a hundred years earlier than previously thought. The thesis also considers how, and to what extent, medieval viewers related to images of books and whether it is possible to identify individual styles in the way artists represented books. There are four case-studies that are used to investigate how images of books were used, and what religious, social, political and psychological purposes were served. Part of the methodology is to identify and study those points of change when books appear or when the way they are shown changes. This is in the belief that when circumstances alter, the artist responds consciously and creatively rather than by imitation. A number of works of art are studied in detail and the thesis proposes new interpretations for, inter alia, the Stefaneschi Altarpiece, Guido de Graziano'sDossal of St Francis, theAnnunciation scene in the Arena Chapel, the RucellaiMadonna, and the S Caterina Polyptych. The case-studies have demonstrated that the image of a book was one of the most powerful visual signs, certainly for the period and region to which this study has been devoted. It shows that in the decades around 1300 the book became an established attribute in altarpieces, the book displaced the rotullus as the symbol of authority, and the book became the dominant attribute of the VirginMary in scenes of the Annunciation, displacing earlier formats. The book was the symbol of learning and therefore a key attribute for the mendicant orders and especially the Dominican Order.

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34

Nixon, Kathrine Mary Gill. "A visualization of dissident voices in sixteenth-century Italy: a reflection of the religious debate in art". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1044.

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Abstract (sommario):

The focus of this dissertation is an exploration of the relationship between the Italian Reformation and some sixteenth-century religious paintings. It aims to discover if, when viewed chronologically, they provide a visualization of the course taken by the Italian Reformation. For sometime art historians have been aware that some religious paintings are at odds with the iconography of Catholic orthodoxy, such works are usually treated in isolation from each other. Here they are brought together and analyzed in the context of a widely disseminated religious debate in which artists were participants, if only as members of society, and not necessarily as members of a particular Protestant sect. It focuses on individual works by Fra Bartolomeo della Porta, Jacopo Pontormo, Lorenzo Lotto, Michelangelo, Jacopo Bassano, and Caravaggio. The paintings considered are interpreted in relation to the sermons of Savonarola, the Catechism and One Hundred and Ten Considerations, of Juan de Valdès, the Beneficio di Cristo, Italian evangelism, the spirituali, and radical groups such as the Anabaptists.

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35

Velimirovic, 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.

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Abstract (sommario):

For 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.

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36

Wright, Jarrell D. "Dancing before the Lord| Renaissance ludics and incarnational discourse". Thesis, University of Pittsburgh, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3725605.

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Abstract (sommario):

Play is a manifestation of overflowing excess. When applied to the study of discourse, this bounty can be understood in terms of figurativeness and depth. If “degree-zero” discourse is the almost entirely unfigured language of an instruction manual, then verse lies near the other extreme: highly figured and elaborate language open to rich interpretive possibilities. I posit a further pole yet on this continuum: the hyperabundant texts of the Renaissance, when ludics were at a height partially quashed by the Enlightenment preference for the plain style. These ludic texts are not merely decorative but rather reflect the incarnational impulse of Renaissance Christian thought; they attempt to praise and to imitate the power of Divine language, in which Word is made Flesh in the West’s master model of superabundance, grace through Christ’s Incarnation and Sacrifice.

This project conducts three case studies of playfully incarnational discourses during the Renaissance: in speech, in imagery, and in verse. First, it analyzes sermons by John Donne that reflect candidly on the power of Donne’s own ludic speech, concluding that his transgressive, gamelike rhetoric was oriented toward stimulating responsive action. Next, it examines period images through the lens of contemporary popular works that conceive of images as puzzles to be decoded, solved, and read, concluding that period anamorphoses and similar works were efforts to infuse images with lively presence in a way that helps to account for iconophobic and iconophilic strains in English Reformation thought. Finally, it reads George Herbert’s deceptively simple poem, “The Altar,” examining how the piece may be understood as an intervention into the shaped-verse tradition and how it reflects on period debates about Church fabric, concluding that the toylike or tricklike construction evokes the Eucharistic presence of the Divine in Herbert’s worshipful meditation.

At stake are a greater appreciation for Renaissance artistry, a fuller understanding of the complexityof the English Reformation, and a richer vocabularyfor play theorists working with ludic discourses. A conclusion considers these implications and explains whyRenaissance thinkers might have chosen a ludic mode of imitative worship—God’s grace and creation are themselves forms of play.

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37

Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /". Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.

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38

Wise, Rachel Anne. "Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3551.

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Abstract (sommario):

Rosary devotion has long been considered a "female-centered" religious practice. Despite this correlation, no scholars have investigated the relationship between women and the rosary. In this thesis I attempt to fill that void by examining a range of meanings the rosary held for laywomen in late fifteenth- and early sixteenth-century Northern Europe, c. 1470 to c. 1530. Using a theoretical framework informed by materialism, gender theory, and Marian theory, my thesis argues that beyond its usual associations with indulgences, the rosary also signified prayers for conception and safe childbirth. In reciting prayers to the Madonna, laywomen spiritually and mystically projected themselves into the narrative of the Virgin's pregnancy, desiring to bear a child as Mary bore Christ.To explicate the relationship between women and the rosary, my thesis considers a variety of rosary images: female donors with their prayer beads, Andachtsbilder portraying the Christ Child holding and playing with a string of beads, images of the Holy Kinship, instructive prints from rosary manuals, and early family portrait scenes. As a whole, these images suggest that the rosary symbolized a budding womb, a wife's ideal piety, the desire for children, the maternal qualities of the Virgin, and an amulet to assuage the rigor of childbirth. Lastly, my thesis considers the rosary as religious jewelry. By looking to several examples of women depicted with ornate rosaries, my thesis argues that laywomen wore beads to elevate their status and to emulate the aristocracy. Moreover, wearing rosaries and/or being painted with one's rosary allowed for a public pronouncement of one's private piety. For women, then, wearing a rosary was another way in which they could enter into the public devotional realm. In arguing that the rosary was perceived by women as a blossoming vine, as a piece of religious jewelry, and as an aid in childbirth, I hope to have contributed new ways of understanding this multivalent devotional tool, and to have opened new avenues for others to consider the rosary beyond its usual associations with prayer counting and indulgences.

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39

STRASBAUGH, CHRIS. "CALL TO ACTION: THE ROLE OF RELIGIOUS PAINTING IN UTRECHT'S GOLDEN AGE (1590-1640)". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177423292.

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40

Gediminskaite, Guoda <1991&gt. "Reassessing Religious Identities in the Fourteenth-century Venetian Crete: Foundations of Two-aisled Churches and the Kallergis Family". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15662.

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Abstract (sommario):

The study of the complex plural society of Latins and Greeks, solidified on Crete during the Venetian rule, would seem to have become the concern of many scholars by now. And yet, despite of relatively grown interests, the coexistence of two communities still leaves rather problematic questions open. These today concern, first and foremost, with the dimensions of everyday religious life. The recent discourse on the history of Cretan churches with two aisles becomes a point in case. Here archaeological evidence of bipartite monuments not only did lead scholars to draw parallels between architectural practices of Latins and Greeks, but, more importantly, placed emphasis on the connection of their worship experience. As the aforementioned contributions regarding the churches with two aisles lay the solid groundwork for the further research, in this thesis I tend to rejoin the discussion. Besides providing a critical preface to typological and functional approaches, basically I focus on the tightly-knit case study of the first two-aisled churches of Crete. Significantly, here physical evidence and written sources emphasize analysing the history of the foundations through the prosopographical study of the patrons, namely, the Greek-Cretan family of the Kallergis. Thus, while aiming to understand the development and functionality of the early bipartite Cretan monuments on micro level, I also attempt to reassess the complex religious reality and identities of the time.

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41

Thaysen, Thorsten. "Schrankenlose Toleranz oder Toleranz gegenüber Schranken? : Eine Untersuchung der Schranken der Religionsfreiheit in Art. 4 GG /". Hamburg : Kovač, 2008. http://www.verlagdrkovac.de/978-3-8300-3584-8.htm.

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42

Dawson, 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.

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Abstract (sommario):

The premise of this thesis is that the ???concrete holographic image???, a laser transmission hologram which has an object or a hologram of an object as its subject, has unique spatial and temporal properties which can suggest a plurality of tenses to a viewer. There is a lack of comprehensive analysis of the holographic representational system within art related theoretical and critical writing and a tendency to analyse individual works only in terms of generalities which apply to the concepts surrounding the holographic medium. While these form an important background for art image production, in some cases corresponding to artists works, the existing written material on the subject is inadequate as a model from which to draw the all important temporal conclusions. To date the critical reception of holograms has made no mention of acuity, the size of the viewing frustum, the depth of the image and scant mention of interference phenomena which are the intrinsic factors which I believe precipitate temporal illusions. Therefore this thesis examines the concrete holographic image in great detail on its own terms, firstly through theories of the basic image forming phenomena of interference and diffraction and secondly through the techniques of production as they have been adapted for the making of my art works. The extent of the metaphorical and allegorical potential of the spatial and temporal properties of the concrete holographic image are put to the ultimate test in a commission for St Brigid???s Church, Coogee. The Shrine of the Sacred Heart commission for St Brigid???s requires a concrete holographic image to facilitate devotion to the Sacred Heart. The Sacred Heart is not a physical thing but a complex, evolving spiritual entity with a realist pictorial history.

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43

Lefler, Thomas J. "In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture". Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.

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44

Carminati, Pauline. "« Le Paradis en boutique ». L’édition de sculptures religieuses au XIXe siècle : la maison Raffl". Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP031.

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Abstract (sommario):

Le XIXe siècle apparaît comme un âge d’or du multiple en sculpture. Du mouleur ambulant à la manufacture employant plusieurs centaines d’ouvriers, l’édition sculptée a pris toutes les formes, s’est déclinée dans toutes les matières et diffusée dans toute la société. Le catholicisme n’est pas resté à l’écart de ce phénomène. Il en a été au contraire un terrain d’élection et un moteur. Pour en rendre compte, ce travail s’est appuyé sur l’étude d’une entreprise spécialisée dans la création et l’édition de sculptures religieuses : la maison Raffl. En remontant aux origines de l’entreprise au tournant du XIXe siècle et en suivant son évolution jusqu’à sa liquidation en 1953, la thèse retrace l’émergence, le rayonnement et le déclin de cette production statuaire communément qualifiée de « saint-sulpicienne », éclairant un pan méconnu de l’art religieux et du décor des églises du Concordat au Concile Vatican II
The XIXth century appears as the Golden Age of the multiple in sculpture. From the ambulant cast maker to the crowded factory, sculptural editions circulated under all kinds of shapes, using all kinds of materials, and throughout society. Catholicism didn’t stay away from this phenomenon, and was instrumental to its birth and growth. In order to account for it, this paper focuses on the study of one particular factory, which specialized in the production of religious sculpture: the « maison Raffl ». Going back to its origins in the late XVIIIth and following its evolution up until its dissolution in 1953, this dissertation retraces the emergence, heyday and demise of this type of sculptural production, commonly labelled « saint-sulpicienne », and sheds a new light on a little known area of religious art and church decoration, from the Concordat to the Second Vatican Council

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45

Chrzanowska, Agata Anna. "Narrative fresco and ritual : Filippo Lippi, Domenico Ghirlandaio and performative properties of the religious art in Quattrocento Florence". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11835/.

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Abstract (sommario):

The present study analyses Filippo Lippi’s frescoes in the main chapel of the Prato cathedral and Domenico Ghirlandaio’s decoration of the Tornabuoni chapel in Santa Maria Novella in Florence. It focuses on the relationship between the frescoes and the ritual practices of the period, in particular, the religious spectacle. The aim of the research is to analyse the little-known and somewhat elusive relations between the two chapel decorations and other public expressions of devotional culture, such as the religious spectacles performed in the city during religious festivities. Chapter 1 provides a necessary theoretical and historiographical background to the work, while chapter 2 examines the performative production of Florence. It locates the tradition of religious plays within the context of the fifteenth-century devotion and analyses a sample of texts of sacre rappresentazioni. Chapter 3 provides archival evidence of the involvement of Florentine artists, including the two at the centre of this research, with the social and cultural world of the lay confraternities. Chapters 4 and 5 focus on the two fresco decorations. The iconographic analysis allows us to recognize the hagiographic and philosophical sources of the paintings. The study shows the influence of Renaissance culture on the sacred iconography, and the introduction of new themes to the sacred narratives, such as Ficino’s idea of prisca theologia. Finally, the study discusses the relationship between the frescoes and the drama and asks questions about the relationship between the decorations and the ritual. The argument of the thesis is that the visual elements coming from the religious spectacles penetrated to the Florentine narrative paintings thanks to the personal exchange between both environments. Moreover, the study suggests that these inserts were meaningful and allowed the frescoes to become part of the ritual of intercession. Finally, the research shows in which ways the ruling elite participated to the cultural life of the city and used its visual aspects in order to promote their values and to obtain political consent.

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46

McCabe, Sophia Quach. "Caught between the Folds: An Intertextual and Intervisual Engagement with Pieter Bruegel the Elder's Religious Paintings". Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/69433.

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Abstract (sommario):

Art History
M.A.
The following thesis examines Pieter Bruegel the Elder's religious paintings and audience engagement, as based not solely on the content of the works, but on their formal structure, as well. Vignettes and smaller figure groups within Bruegel's compositions provide the basic structure and platform for an intertextual and intervisual engagement. The religious, social, and political context of the mid-sixteenth century is also considered to help frame the connection between the viewer and the following paintings: Procession to Calvary (1564, Vienna), Sermon of St. John the Baptist (1566, Budapest) and Conversion of St. Paul (1567, Vienna).
Temple University--Theses

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47

Worley, Taylor. "Theology and contemporary visual art : making dialogue possible". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Abstract (sommario):

Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

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48

Baillargeon, Claude. "Religious fervor and photographic propaganda : Durandelle's anatomical studies of the Sacré-Coeur de Montmartre /". Rochester : Claude Baillargeon, 2002. http://catalogue.bnf.fr/ark:/12148/cb39217910n.

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49

Johnson, Jewell Jan Marie. "After Kandinsky: Unholy Alliances in the Secular History of Ideas and Images as Modern and Contemporary Religious and Spiritual Art". Thesis, University of Sydney, 2018. https://hdl.handle.net/2123/23223.

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Abstract (sommario):

In 1912, a phenomenon appeared when Kandinsky’s abstraction and his text Concerning the Spiritual in Art was published. A paradox of the avant-garde and the Orthodox, Kandinsky exemplifies the Enlightenment freedom of subjective religious and spiritual expression. What does modern and contemporary religious or spiritual Art look like? Following the ‘separation of church and state’ artists created new expressions of traditional and new religions needing cohesive studies to locate, recognise and document these legacies; correct biased or inaccurate records; and identify these artworks’ secular disguises. This thesis considers religion and the spiritual in Art as traditional or new imagery and symbolism including agnostic and atheist impulses. Kandinsky’s abstraction as ‘Christian’ art acknowledges a collaboration of the avant-garde with the Russian Orthodox; his spiritual texts expressing the spiritual in art, universally, for the artist, he claimed, was part of a ‘spiritual revolution.’ This analysis of Kandinsky required I form the ‘immaterial frame’ methodology to map these historical renovations ideologically; culturally; socially; and politically as evidence of the freedoms of expression contextualising by religio-secular aesthetics. In order to uncover these aspects, the ‘immaterial frame’ methodology has been constructed to accommodate the process of recognising the non-physical ideas of spirituality and the religious in modern and contemporary Art using four intellectual ‘sides’ represented by the image: 1) The artist’s biographical experiences. 2) Individually defined ideas or ideologies, and the artist’s personal variations. 3) The global and cultural contextualisation of the time. 4) Correcting or revealing what was formerly unknown, to answer: What does modern and contemporary religious or spiritual Art look like?

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50

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.

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Abstract (sommario):

This dissertation focuses on images of Christ that date from the first half of Late Antiquity, defined as the three centuries between AD 200 and 500. The cultural dynamics of this period left a distinct impression on Christian art, and this dissertation traces that impact. Unlike other studies that attempt to resolve ambiguity within the corpus of Christ images, the argument here maintains that ambiguity was a key component in the creation and subsequent interpretation of the Late Antique Christian iconography. The dissertation proceeds in three parts, each comprising two chapters. In the first section, the history and historiography of the image of Christ is explored, and a methodology capable of accommodating the diverse meanings assigned to the Christ’s discrepant and ambiguous iconographies is developed. In order to better understand the socio-religious environment in which the first images of Christ were produced and interpreted, the second section of the dissertation moves away from material culture and towards method and theory. The notion that interpretation is a group level phenomenon is critiqued, and a model explaining how individuals in Late Antiquity could have made sense of ambiguous images of Christ is advanced. The final section turns back to the material culture and applies the framework developed in the second section to two artworks: (1) the sarcophagus of Junius Bassus and (2) the floor mosaic from the Hinton St. Mary Roman Villa now in the British Museum. By complementing the standard analyses of Christian art with interpretations grounded in the diverse interactions viewers had with artworks, new perspectives will emerge that provide a fuller picture of Late Antique Christianity and the iconography of its godhead alike.

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Tesi sul tema "Religious art"

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