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Artykuły w czasopismach na temat "Byzantine Icon painting"
Mocanu, Alina Viorela. "The Byzantine Icon Hermeneia". Review of Artistic Education 22, nr 1 (1.06.2021): 200–205. http://dx.doi.org/10.2478/rae-2021-0025.
Pełny tekst źródłaGinting, Alex Cristian Justisia. "Relasi Narasi Visual dan Teks dalam Ikon Transfigurasi Paroki St. Dionysios Yogyakarta". Journal of Contemporary Indonesian Art 7, nr 2 (30.10.2021): 57–63. http://dx.doi.org/10.24821/jocia.v7i2.6078.
Pełny tekst źródłaKhlystun, Yuliia. "Reasons for Changing the Painting Style of Orthodox Churches in Eastern Ukraine at the Turn of the 20th–21st Centuries". NaUKMA Research Papers. History and Theory of Culture 5 (6.09.2022): 38–46. http://dx.doi.org/10.18523/2617-8907.2022.5.38-46.
Pełny tekst źródłaArkhypova, Ye I. "BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH". Archaeology and Early History of Ukraine 35, nr 2 (30.06.2020): 361–67. http://dx.doi.org/10.37445/adiu.2020.02.28.
Pełny tekst źródłaТарасенко, А. А., i Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, nr 2 (21.09.2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.
Pełny tekst źródłaWang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature". Journal of Education, Humanities and Social Sciences 21 (15.11.2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.
Pełny tekst źródłaEtinhof, Ol’ga E. "“CHRIST PANTOCRATOR” OF THE 13TH CENTURY FROM THE COLLECTION OF RUBLEV MUSEUM IN THE CONTEXT OF GREEK-RUSSIAN RELATIONS". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, nr 1 (2022): 98–113. http://dx.doi.org/10.28995/2686-7249-2022-1-98-113.
Pełny tekst źródłaTrifonova, Alexandra. "A miraculous icon of virgin Hodegetria with twelve great feast scenes (third quarter of the fourteenth century) from Nessebur, Bulgaria". Zograf, nr 46 (2022): 137–53. http://dx.doi.org/10.2298/zog2246137t.
Pełny tekst źródłaДАДИАНОВА, Т. В. "THE INFLUENCE OF BYZANTIUM ON CHURCH ARCHITECTURE AND ICON PAINTING". Kavkaz-forum, nr 11(18) (20.09.2022): 38–51. http://dx.doi.org/10.46698/vnc.2022.18.11.003.
Pełny tekst źródłaLymberopoulou, Angeliki. "Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited". Arts 12, nr 4 (4.07.2023): 139. http://dx.doi.org/10.3390/arts12040139.
Pełny tekst źródłaRozprawy doktorskie na temat "Byzantine Icon painting"
Joumaa, Jamal. "The influence of the icon in contemporary Egyptian art". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.114529/index.html.
Pełny tekst źródłaKouloumpi, Eleni. "Western-European influences on the post Byzantine icon painting technique of Crete and the islands of Ionion". Thesis, De Montfort University, 2007. http://hdl.handle.net/2086/4347.
Pełny tekst źródłaJoumaa, Jamal. "The influence of the icon in contemporary Egyptian art". Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/229.
Pełny tekst źródłaKoutsikou, Chryssavgi. "Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H022.
Pełny tekst źródłaThe present thesis is about vita icons executed from the beginning of the 15th to the end of the 17th c. on the island of Crete which was under Venetian rule since 1210. The capture of Constantinople by the Ottomans in 1453 deprived the Byzantine empire of its center and Crete, where several Constantinopolitan painters have taken refuge, has developed, under their influence, the art of the icons painting in workshops organized on the mode] of Western workshops. This study includes 74 icons of 26 saints. ln the Introduction, the presentation of the subject is followed by the integration of the works in their historical and artistic context, the presentation of the state of the research and the methodological approach. The text is divided into 4 chapters. The 1st includes a presentation of the frequency of illustration of saints on icons, the distribution of works by century, the location of known painters and sponsors based on dedicatory inscriptions. The 2nd deals with the evolution of the typology as to the disposition of the hagiographic cycle of the saint in relation to the central representation, the number of compartments and the relationship with that of the illustrated episodes, the modes of delimitation of the compartments and the establishment of the illustrated episodes. The 3d chapter studies in detail the evolution of the iconography of the scenes, the constitution of the cycles and the diffusion of the iconographic formulas, with as starting point the cycles of saints Georges and Nicolas. The study of the evolution of the iconography of the cycles of ail the icons, according to the chronological order of the works, is addressed in the 4th chapter
Trias, i. Torres Ramon. "Icona i realitat. El cartró com element essencial a la pintura per capes". Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/134800.
Pełny tekst źródłaThe thesis “Icon & Reality: Cartoon as an essential element in paint layers” deals with the problem of preparatory work in paint layers. It should emphasize on strong experimental nature of research, which is mainly focused on practical and pedagogical application. The thesis is based on the idea of developing and analyzing the old Flemish painting technique, nowadays abandoned, but in a natural and necessary way it flowed until got focused on one of its specific aspects, the apparent lack of technique’s capacity for corrections, while the image is pictorially constructed. Therefore, the key question that summarizes the thesis is: Relevant changes are or are not possible in an image while this is pictorially constructed by an indirect method, as might be the Flemish. The initial work to study the subject interweaves with other similar spiritual subject – Byzantine painting – an artistic form with regular practice in large parts of Europe still today. By comparing both working ways, circumstantial aspects tend to fade and then is easier to get clear and understand the essence of the image constructed by addition of paint layers. The author creates, search and collects a generous number of examples in both mentioned above pictorial techniques. The examples are extended in two more types of paintings, one using third painting technique also imbued with similar problems, and another getting focused in exclusively drawings’ aspects. Of all the experimental material, a number of conclusions regarding the preparatory, general and procedural implementation work are extracted in the following summary. The ecstasy of the creative work should be experienced through preparatory drawings. That is, the climax of the painting must be developed on the cartoon reminding the consequent pictorial work in the strict support as a drawing’s programmed and directed task. No suspense or unknown activity must be in the specifically painting work. Any correction in painting of the original projected drawn image should be considered as something precarious, as a tare. The preliminary drawing or cartoon should be detailed to the max, and, be transferred accurately in its complexity to the ultimate format.
La tesis “Icono y Realidad: El Cartón como elemento esencial a la pintura por capas” versa sobre la problemática preparatoria de la pintura por capas determinante. Cabe destacar del trabajo de investigación su marcado carácter experimental, orientado sobre todo a la aplicación práctica y pedagógica. La tesis, partiendo en un principio de la idea de desarrollar a la práctica una técnica pictórica en desuso hoy, como es la Flamenca, acaba centrándose de manera natural y necesaria en uno de sus aspectos concretos; su hipotética falta de capacidad aparente para obrar correcciones mientras se construye el cuerpo pictórico. La pregunta clave que resume la Tesis sería la siguiente: ¿Son posibles las alteraciones relevantes de la imagen que se construya utilizando a una metodología pictórica indirecta, como podría ser la Flamenca? El trabajo inicial sujeto a estudio se imbrica con otra de talante semejante, la pintura Bizantina, cuya praxis regular aún pervive en amplias zonas de Europa. El motivo es conseguir —mediante la comparación— borrar lo circunstancial y llegar a la esencia de las imágenes construidas por adicción de estratos pictóricos. El propio autor realiza y recoge testimonio documental de una generosa cantidad de ejemplos en las dos técnicas pictóricas ya mencionadas. Ejemplos que se extienden en dos tipologías mas; unos elaborados desde una tercera técnica pictórica imbuida de problemática similar, y otros centrándose exclusivamente en los aspectos de dibujo. De todo el material experimental se extrae una serie de conclusiones respecto al trabajo preparatorio, genéricas y de aplicación procesual que en resumen son las siguientes: 1- En el dibujo preparatorio debe experimentarse el extasis creativo de la futura obra. Es decir, el nudo de la obra se desarrolla sobre el carton; siendo el consiguiente trabajo pictorico en el soporte último una actividad dirigida y programada desde el primero, sin suspense ni incognitas. 2- Cualquier corrección de la imagen original de la pieza pictorica por capas se deberá considerar como algo precario, como una tara. 3- El dibujo preliminar o cartón debe estar detallado al máximo, y ser traspasado al formato último de manera precisa y preciosista, so pena de perder todo lo estudiado en el primero.
FÍLOVÁ, Lenka. "Výklad ikony Proměnění od Theofana Řeka". Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-317330.
Pełny tekst źródłaKsiążki na temat "Byzantine Icon painting"
Kordis, George. Icon as communion: The ideals and compositional principles of icon painting. Brookline, MA: Holy Cross Orthodox Press, 2010.
Znajdź pełny tekst źródłaIcon as communion: The ideals and compositional principles of icon painting. Brookline, MA: Holy Cross Orthodox Press, 2010.
Znajdź pełny tekst źródłaIcons of Cyprus. Nicosia: Published by the Holy Archbishopric of Cyprus, 1992.
Znajdź pełny tekst źródłaKyriakidēs, Grēgorēs G. Theia ekphrasis: Technikē tēs Vyzantinēs hagiographias. Leukōsia: G.G. Kyriakidēs, 2001.
Znajdź pełny tekst źródłaVserossiĭskiĭ khudozhestvennyĭ nauchno-restavrat︠s︡ionnyĭ t︠s︡entr imeni akademika I.Ė. Grabari︠a︡, red. Icona volto del mistero. Milano: Casa di Matriona, 1991.
Znajdź pełny tekst źródłaNorthern Byzantine icons: The Finnish National Committee for Byzantine Studies. Helsinki: Suomen Bysanttikomitea, 2014.
Znajdź pełny tekst źródłaEurōpaiko Kentro Vyzantinōn kai Metavyzantinōn Mnēmeiōn (Thessalonikē, Greece), Mouseio Vyzantinou Politismou (Thessalonikē, Greece) i Greece Hypourgeio Politismou, red. Eikones apo tis orthodoxes koinotētes tēs Alvanias: Syllogē Ethnikou Mouseiou Mesaiōnikēs Technēs Korytsas : Thessalonikē 14 martiou-12 Iouniou 2006. Thessalonikē: Eurōpaiko Kentro Vyzantinōn kai Metavyzantinōn Mnēmeiōn, 2006.
Znajdź pełny tekst źródłaVeerle, Vandamme, i Koninklijk Museum voor Schone Kunsten (Belgium), red. D'un autre monde: Icônes inconnues et art byzantin. Antwerpen: Pandora, Snoeck-Ducaju & zoon, 1997.
Znajdź pełny tekst źródłaBakolas, Christos N. Hylika stēn technē tēs hagiographias. Serres: Ekdoseis Amētos, 1997.
Znajdź pełny tekst źródłaGeorgievski, Milčo. Icon Gallery, Ohrid. Ohrid: Institute for the protection of the monuments of Culture and National Museum, 1999.
Znajdź pełny tekst źródłaCzęści książek na temat "Byzantine Icon painting"
Vassilaki, Maria. "On the Technology of Post-Byzantine Icons". W The Painter Angelos and Icon-Painting in Venetian Crete, 333–44. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-19.
Pełny tekst źródłaVassilaki, Maria. "From the ‘Anonymous’ Byzantine Artist to the ‘Eponymous’ Cretan Painter of the Fifteenth Century". W The Painter Angelos and Icon-Painting in Venetian Crete, 27–66. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-4.
Pełny tekst źródłaVassilaki, Maria. "An Icon of the Entry into Jerusalem and a Question of Archetypes, Prototypes and Copies in Late and Post-Byzantine Icon-Painting". W The Painter Angelos and Icon-Painting in Venetian Crete, 285–304. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417521-15.
Pełny tekst źródłaLYMBEROPOULOU / BIRMINGHAM, ANGELIKI. "THE MADRE DELLA CONSOLAZIONE ICON IN THE BRITISH MUSEUM: POST-BYZANTINE PAINTING, PAINTERS AND SOCIETY ON CRETE". W JAHRBUCH DER ÖSTERREICHISCHEN BYZANTINISTIK, 239–55. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 2003. http://dx.doi.org/10.1553/joeb53s239.
Pełny tekst źródłaBurchuladze, Nana. "Icons from Svaneti in the Context of Byzantine Painting". W Medieval Svaneti: Objects, Images, and Bodies in Dialogue with Built and Natural Spaces, 184–207. Turnhout: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.136737.
Pełny tekst źródłaKriza, Ágnes. "Depicting Orthodoxy in Rus". W Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.
Pełny tekst źródła"Byzantine Icon-Painting Around 1400: Constantinople or Crete?" W Byzantine Images and their Afterlives, 207–18. Routledge, 2016. http://dx.doi.org/10.4324/9781315261034-19.
Pełny tekst źródłaKhokhlova, Irina L. "Image of Feats of Repentance in the Ladder and in the Hagiographic Icon of John Climacus". W Hermeneutics of Old Russian Literature. Issue 21, 495–513. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-495-513.
Pełny tekst źródłaKozinchuk, Vitalii. "PRESERVATION OF THE ICONOGRAPHIC CANON AMONG UKRAINIAN DIASPORA". W Art Spiritual Dimensions of Ukrainian Diaspora, 70–84. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-4.
Pełny tekst źródłaKriza, Ágnes. "Representations of Wisdom in Rus". W Depicting Orthodoxy in the Russian Middle Ages, 67–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0005.
Pełny tekst źródłaStreszczenia konferencji na temat "Byzantine Icon painting"
Mosneagu, Mina Adriana. "Conservation and restoration of some icons from the collection of church objects of Agapia Monastery, Neamţ, Romania". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.08.
Pełny tekst źródłaAleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA". W Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.
Pełny tekst źródłaGavrilović, Anđela. "CONTRIBUTION TO THE STUDY OF THE SCENE OF BAPTISM OF CHRIST IN SERBIAN MEDIEVAL ART WITH SPECIAL INTEREST IN THE CHURCH OF SAINT NIKITA NEAR SKOPLJE (AROUND 1324; 1484)". W Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.733g.
Pełny tekst źródłaЗашев, Евгени. "За най-ранната топография на култа към св. Седмочисленици. Обособяване на култа". W Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.02.
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