Rozprawy doktorskie na temat „Crucifixion in art”

Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

This research developed from an observation that the iconography of the crucifixion was being used by artists in the twentieth century for purposes beyond its usage in earlier centuries. As an active member of a Christian Community this appeared to have implications for a Christian understanding of the theological significance of the crucifixion of Jesus and also its significance in the wider culture of twentieth century Britain. The foundation of this thesis is a Scholarly Edition of sixty works of art, produced from 1913 to 2000, by artists based in Great Britain. They are united by a common use of the iconography of the crucifixion. There is no other collection comparable to the Scholarly Edition. As an original contribution to learning the collection is innovative in bringing together the works of art as a resource for theological reflection. The commentary describes the methodology used in collecting and analysing the works including an introduction to three areas relating theology and art. The analyses of individual works indicate that in the twentieth century the theology implicit in the works moved away from a teleological emphasis of Jesus as Saviour of the World, found in pre-seventeenth century works, to a diverse and diffuse approach to theology. Within this diversity, the works of art collected in the Scholarly Edition indicate that Christians and non-Christians during this period used it for a wider range of purposes than has been thus far reported. In the final chapter of the Commentary it is proposed that in the twentieth century the symbolic meaning of the iconography changed from centring on a Christian teleological understanding as Christ as Saviour to a non-religious personification of humanity as alienated, innocent and suffering, whose prototype is the crucified Jesus Christ. Finally, this change was related to radical Anglican theological proposals made during the twentieth century.

Les deux grands sacrifices bibliques engagent des séries de contradiction qui sont autant d'apories pour la constitution d'un sens. Isaac, enfant de la Promesse sacrée, risque de mourir dans une épreuve envoyée par dieu ; le christ, Verbe fait chair, meurt sous le châtiment que le pouvoir réserve aux criminels et aux esclaves. Dans le champ artistique, les images de la Crucifixion et celles d'Isaac sur l'autel observe une polymorphie qui consacre la complexité des figures au sacrifice et soulève la question de la corporéité. Cette question perce dans les débats théologiques des premiers siècles de notre ère et se règle dans la proclamation du dogme de l'Incarnation, structuré sur un paradoxe. .
The two great biblical sacrifices give rise to a number of inconsistencies, which are difficulties to define an interpretation. Isaac, son of the Holy Promise, risks death by a test sent by God himself ; Christ, becomes flesh, dies subjected to a punishment reserved for criminals and slaves by the state. From an artistic point of view, Crucifixion and Isaac on the altar display a polymorphy, illustration of the complexity of the faces linked to the sacrifice and raise the question of the different ways to picture the body. This question penetrates the theological debate of the first centuries of our era and the answer was the proclamation of the Incarnation dogma, founded on a paradox. .

Pour déterminer la place de Jésus le Christ dans l'oeuvre de Chagall, nous nous appuyons sur un corpus de 365 œuvres comportant le Motif du Crucifié ainsi que différents documents littéraires (lettres, biographie, poèmes). Notre approche plurielle touche aux domaines de l'histoire de l'art, de la théologie et de l'histoire du judaïsme ( en particulier de la Shoah) et du christianisme, ainsi que de l'exégèse biblique. Une première partie recense les lectures critiques et interprétatives des monographes concernant le motif chez le peintre ; lectures influencées par l'appartenance culturelle et religieuse de leur auteur. Une seconde partie explore les influences reçues par l'artiste : culturelles, artistiques, ethniques, religieuses et historiques. Elle se penche notamment sur les divergences entre les communautés chrétiennes et juives concernant la personne de Jésus. Une troisième partie présente la place tout à fait remarquable que le motif du crucifié occupe chez un artiste issu du judaïsme et pose la question de l'utilisation, par un juif, d'un motif chrétien. La quatrième partie présente la place du motif dans l'oeuvre de l'artiste, une place méconnue, sous-évaluée, contestée. Une étude des thèmes et motifs associés, sous les catégories du grotesque, du déport et du report, permet de suivre l'itinéraire d'un peintre qui découvre, s'approprie et dépasse un motif de l'art chrétien. Une lecture rétrospective du déploiement du motif découvre alors une lecture polysémique et pluri religieuse du motif qui fait de Chagall un visionnaire
To determine the place of Jesus the Christ in the works of Chagall, we rely on a corpus of 365 artistic works with the motif of Christ crucified and different literary documents (such as letters, biography and poems). Among other things we refer to the different fields of the history of Art, Judaism (Shoah), and Christianity as well as the biblical exegesis. The first part specifies the critical and interpretative readings being influenced by the cultural and religious belonging of their author. The second part explores the different influences received by the artist from the cultural, artistic, ethnic, religious and historical point of view. It particularly focuses on the divergences between the Christian and Jewish communities concerning Jesus Christ. The third part puts forward the remarkable place of the motif of Christ crucified takes in an artist born of Judaism. It asks the question of the use of a Christian motif by a Jew. The fourth part introduces the place of the motif in the artist works, a place which is unknown, under-evaluated, and contested. A study of the topics and associated motives under the categories of “grotesque”, “report” and “deport” introduces the viewer to the path of a painter who discovers, appropriates and transcends a motif in Christian art. Consequently, the careful retrospective reading of the motif emphasizes the polysemic and pluri-religious side of the design which definitively makes a visionary of Chagall

This paper discusses the fresco decoration of Santa Maria ad Cryptas. The frescoes are described and analyzed, and then compared to similar programs in order to determine which features are based on earlier sources, and which are unusual or unique to this particular church. The traditional features are found to reflect a long-established pattern of church decoration reflected in such monuments as Old Saint Peter’s, Sant’Angelo in Formis, the Cathedral of Monreale, and the Cappella Palatina. The unusual features (including the placement of the Passion cycle in the presbytery, and the location of the Crucifixion over the altar) are explained as modifications that emphasize themes of local importance, or of special significance to the patron. The Fossa frescoes utilize programmatic elements, such as the Old and New Testament narrative cycles, to explain sacred history as it related to a medieval man of the patron’s class and profession.

This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer.

The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. in addition to an agricultural and purification rite, these rituals may have served as sympathetic magic for pre- and inter-war periods. As of yet, no author has proposed the Argei as a ceremony related to war. By looking at the Argei holistically I open the door for a new direction of inquiry on the Argei ceremony, fertility cults in the Near East and in Rome, and on the execution of war criminals.The Argei and new year’s sacred marriage both occurred during the initiation of campaign and spring planting and harvest season. Both in the ancient Near East and in Rome, animal victims were sacrificed and displayed through impaling, crucifixion, and hanging for fertility and in war. for both Rome and the Near East war casualties were displayed on sacred trees. Through the Near East cultures a strong correlation existed between impaling, hanging, and crucifixion in war and Sacred Tree fertility worship. By examining Roman tree worship, military rituals, and agricultural ceremonies a similar correlation becomes apparent. on the same day of the Argei, Mars was married to the anthropomorphized new year and within the month became a scapegoat expelled from the city. Additionally, on the first day of the Argei boys became soldiers.

This dissertation brings the Ancient Near Eastern practice of the wheel, hanging, impaling, placarding, and crucifixion (WHIPC) into the scholarship of crucifixion, which has been too dominated by the Greek and Roman practice. WHIPC can be defined as the exposure of a body via affixing, by any means, to a structure, wooden or otherwise, for public display (Chapter 2). Linguistic analysis of relevant sources in several languages (including Egyptian hieroglyphics, Sumerian, Hebrew, Hittite, Old Persian, all phases of ancient Greek, and Latin) shows that because of imprecise terminology, any realistic definition of WHIPC must be broad (Chapter 3). Using methodologies and interdisciplinary approaches drawn from art history, archaeology, linguistic analysis, and digital humanities, this work analyzes scattered but abundant evidence to piece together theories about who was crucified, when, how, where, and why. The dissertation proves that WHIPC records, written and visual, were kept for three primary functions: to advertise power, to punish and deter, and to perform magical rituals or fulfill religious obligations. Manifestations of these three functions come through WHIPC in mythology (see especially Chapter 4), trophies (Chapter 5), spectacles, propaganda, political commentary, executions, corrective torture, behavior modification or prevention, donative sacrifices, scapegoat offerings, curses, and healing rituals. WHIPC also served as a mode of human and animal sacrifice (Chapter 6). Regarding the treatment of the body, several examples reveal cultural contexts for nudity and bone-breaking, which often accompanied WHIPC (Chapter 7). In the frequent instances where burial was forbidden a second penalty, played out in the afterlife, was intended. Contrary to some modern assertions, implementation of crucifixion was not limited by gender or status (Chapter 8). WHIPC often occurred along roads or on hills and mountains, or in in liminal spaces such as doorways, cliffs, city gates, and city walls (Chapter 9). From the Sumerians to the Romans, exposing and displaying the bodies consistently functioned as a display of power, punishment and prevention of undesirable behavior, and held religious and magical significance. Exposure punishments have been pervasive and global since the beginning of recorded time, and indeed, this treatment of the body is still practiced today. It seems no culture has escaped this form of physical abuse.

Bibliography: leaves 289-313.
v, 316 leaves., 17 p. of plates : ill. (some col.) ; 30 cm.
A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.
Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001

Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvelle, à la fois au niveau des dispositifs figuratifs et du traitement pictural, apportée par le modernisme dans l’approche des grands genres traditionnels dont relève la peinture religieuse. Dans un tout autre registre, le mémoire se penche sur les circonstances historiques exceptionnelles ayant exercé une pression pour que l’expérience tragique des Juifs du XXe siècle trouve à s’exprimer dans des images à portée universelle.
Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enkolpion, i.e. the hanging cross (gr. Έγϰόλπιου, on the chest). Both its sides are decorated with figurative scenes. The crucifixion of the Christ is depicted on one side. The Great Deēsis with St. Basil the Great and St. John Chrysostom is shown on the other side. There is a hollow in the body of the cross, in which a relic was deposited - most likely a particle of the wood of the True Cross. Although the Queen Dagmar's Cross is considered a national treasure in Denmark, only a little attention has been paid to it so far. It is almost unknown to the Czech researchers (it is briefly mentioned by J. E. Wocel, A. B. Černý, J. Květ, K. Chytil and most recently P. Balcárek). Regrettably, the most of researchers only...