Gotowe bibliografie tematyczne / Religious images and art

Gotowa bibliografia na temat „Religious images and art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 7 lutego 2022

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Artykuły w czasopismach na temat "Religious images and art"

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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art". Classical Quarterly 46, nr 2 (grudzień 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.

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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.
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Coates, Andrew T. "What is Protestant Art". Brill Research Perspectives in Religion and the Arts 1, nr 2 (30.05.2017): 1–141. http://dx.doi.org/10.1163/24688878-12340002.

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AbstractWhat is Protestant Art?offers a brief introduction to the field of Protestant visual culture. It argues that the diversity of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than the term ‘art.’ Examining images from the Reformation to the twentieth century, this review essay showcases the breadth of ways Protestants have put images to work in their religious practices. Containing dozens of illustrations,What is Protestant Art?provides the reader with an overview of current research on Protestant visual culture, as well as discussions of representative examples from five hundred years of Protestant imagery.
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Nosova, Ekaterina S. "Religious views of Cardinal Gabriele Paleotti on sacred art". Izvestiya of Saratov University. New Series. Series: History. International Relations 21, nr 2 (23.06.2021): 200–205. http://dx.doi.org/10.18500/1819-4907-2021-21-2-200-205.

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Being founded upon the book «Instructions on religious and secular images» (1582), the article examines cardinal Gabriele Paleotti’s views on sacred art. The author explores the issue of perception of painting as a God-pleasing art, exposes the ideological aspect of sacred painting and reveals the cardinal’s complex evidence base on the need for the existence of religious images in churches and their significance in the life of every person. It is concluded that objects of art should be perceived not only as an artistic commentary on the text of Holy Scripture, but also as a prayer image that plays a cohesive role in interlocution with God.
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French, Kara M. "Evolving Images of Women Religious in Nineteenth-Century American Art". American Catholic Studies 132, nr 1 (2021): 105–19. http://dx.doi.org/10.1353/acs.2021.0013.

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Kleeblatt, Norman. "Disobedient Images". IMAGES 1, nr 1 (2007): 15–21. http://dx.doi.org/10.1163/187180007782347566.

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AbstractNorman L. Kleeblatt discusses four works of art that present problems of interpretation and reception, each of which touches on visual and textual taboos. Avoidance of works of art with such problematic images is a natural response. However, confrontation of the meanings intended by the artists frequently open new avenues for investigation and interpretation, not to mention new iconographies that often contradict the assumptions of art at the intersection with Jewish culture.
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Birrell, Ross. "The Radical Negativity and Paradoxical Performativity of Postmodern Iconoclasm: Marcel Duchamp and Antonin Artaud". Theatre Research International 25, nr 3 (2000): 276–83. http://dx.doi.org/10.1017/s0307883300019738.

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‘Iconoclasm grew from the destruction of religious images and opposition to the religious use of images to, literally, the destruction of, and opposition to, any images or works of art and, metaphorically, the “attacking or overthrow of venerated institutions and cherished beliefs, regarded as fallacious or superstitious”’. Dario Gamboni.
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Kavun, V. M. "The semantics of religious images in the art of the renaissance". Humanitarian studios: pedagogics, psychology, philosophy 3, nr 152 (grudzień 2020): 106–13. http://dx.doi.org/10.31548/hspedagog2020.03.106.

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Purpose of research is to consider the culture and art of the Renaissance and explore the semantics of religious images of the outlined period. Methodology. The tasks posed in this work led to the use of the following research methods, namely: analysis and synthesis, generalization and systematization of theoretical material, comparison and generalization of the result obtained in the process of studying theoretical material and specialized publications covering this issue. The solution of the tasks was achieved by applying the comparative historical, descriptive, logical and systemic methods. Scientific Novelty. The semantics of biblical images in the works of Renaissance artists are revealed. Conclusions. In the Renaissance, a completely new self-consciousness of a person is formed, among spiritual values, preference is given to the nobility and personal merits of the person. The meaning of life is not laid in the salvation of the soul, but in creativity, self-knowledge, serving humanity, society and not God. God, giving man free will, gave him the right to create his own destiny and determine his place in the world. Since the church of that time still had great power, the basic ideas of artists of that time were embodied in works with a religious theme, but in their painting, there were existing contradictions between the humanistic, deep life content ant traditional religious subjects. The works of the renaissance conveyed the being of the person around whom the biblical painting took place, all this was on one plane.
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Menes, Julia C. "The Language of Images in Roman Art - Tonio Hölscher". Religious Studies Review 32, nr 4 (październik 2006): 258. http://dx.doi.org/10.1111/j.1748-0922.2006.00115_4.x.

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Titarenko, S. D. "FUNCTIONS OF THE VISUAL IMAGES IN OF CHRIST AND ANTICHRIST TRILOGY BY D.S. MEREZHKOVSKY". Culture and Text, nr 43 (2020): 126–43. http://dx.doi.org/10.37386/2305-4077-2020-4-126-143.

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The article is devoted to the functions of intermediality in the symbolist novels by D. S. Merezhkovsky (Christ and the Antichrist trilogy). Intermediality is considered as a constructive and structural basis of the novels and the principle of poetics.Visual images of art reflect the writer’s theurgical aesthetics and his conceptual religious-philosophical ideas. They are the basis of the mysteriological-mythological plot and perform functions of the symbolic “crossing” of various religions and cultures borders. The article concludes that intermediality in the structure of the symbolist novel creates media myth about sacred function of the art as a meta-text.
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Miller, Robert. "Medieval illuminated manuscripts: Online images and resources". College & Research Libraries News 78, nr 6 (6.06.2017): 334. http://dx.doi.org/10.5860/crln.78.6.334.

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With their rich representation of medieval life and thought, illuminated manuscripts serve as primary sources for scholars in any number of fields: history, literature, art history, women’s studies, religious studies, philosophy, the history of science, and more.
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Rozprawy doktorskie na temat "Religious images and art"

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Rask, Katherine. "Greek Devotional Images: Iconography and Interpretation in the Religious Arts". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338473387.

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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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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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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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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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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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Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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Donadieu-Rigaut, Dominique. "Penser en images les ordres religieux, XIIe-XVe siècles /". Paris : Éd. Arguments, 2005. http://catalogue.bnf.fr/ark:/12148/cb40072980c.

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El-Hanany, Efrat. "Beating the devil : images of the Madonna del Soccorso in Italian Renaissance art /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230546.

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Laurens, Annie-France. "Hébé : images, mythes et cultes". Paris 10, 1985. http://www.theses.fr/1985PA100154.

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Gillgren, Peter. "Gåva och själa : epitafiemåleriet under stormaktstiden /". Uppsala : Univ, 1995. http://catalogue.bnf.fr/ark:/12148/cb37705053b.

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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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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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Książki na temat "Religious images and art"

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Tibetan religious art. New York: Dover Publications, 2002.

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Images du silence: Pensée et art chinois. Paris, France: Harmattan, 1999.

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Michael, Jordan. Buddha: His life in images. London: Carlton Books, 2003.

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The brothers Campi: Images and devotion : religious painting in sixteenth-century Lombardy. Amsterdam: Amsterdam University Press, 1999.

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La licorne: Images d'un couple. Paris: Editions du Cerf, 1985.

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Françoise, Bayle, red. Les monothéismes en images: Judaïsme, christianisme, islam. Montrouge: Bayard, 2014.

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Jose, Regalado Trota. Images of faith: Religious ivory carvings from the Philippines. Pasadena: Pacific Asia Museum, 1990.

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One nation under God: Religious symbols, quotes, and images in our nation's capital. Huntington, Ind: Our Sunday Visitor, 2001.

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Judith, Ryan, red. Images of religion in Australian art. Kensington, NSW: Bay Books, 1988.

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Kattan, Naïm. Idoles et images. [Saint-Laurent, Québec]: Bellarmin, 1996.

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Części książek na temat "Religious images and art"

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Philpot, Elizabeth. "Judith and Holofernes: Changing Images in the History of Art". W Translating Religious Texts, 80–97. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22841-6_6.

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Kendrick, Laura. "Making Sense of Marginalized Images in Manuscripts and Religious Architecture". W A Companion to Medieval Art, 383–406. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch16.

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Schildgen, Brenda Deen. "In Defense of Images: Christian Church and Religious “Art”". W Heritage or Heresy, 57–78. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613157_4.

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Kielian, Andrzej. "Education Through Art: The Use of Images in Catholic Religious Education". W Global Perspectives on Catholic Religious Education in Schools, 335–44. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6127-2_27.

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LóPez, Victor G. Rivas. "Ecce Homo: On the Phenomenological Problematicity of the Religious Image". W Art Inspiring Transmutations of Life, 181–96. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-9160-4_13.

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Pierce, Constance. "Opus Cordis: Reflections of a Contemporary Artist Embracing the Drama of Religious Imagery". W Art Inspiring Transmutations of Life, 171–80. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-9160-4_12.

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Göttler, Christine. "Rubens’s ‘Ecce Homo’ and ‘Derision of Silenus’: Classical Antiquity, Images of Devotion, and the Ostentation of Art". W Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe, 427–83. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.proteus-eb.3.916.

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Wade, Nicholas. "Hidden Images". W Art and Illusionists, 161–82. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25229-2_9.

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"Images between Religion and Art". W Breaking Resemblance, redaktor Alena Alexandrova. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274475.003.0005.

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This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.
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Ramachandran, Tanisha. "Mūrti, Idol, Art, and Commodity". W The Oxford History of Hinduism: Modern Hinduism, 93–109. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198790839.003.0006.

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This chapter investigates the production, deployment, and interpretation of Hindu images, beginning in the nineteenth century, involving the interaction of non-Hindus and Hindus with the image in the Indian context and its eventual travel to the United States and the United Kingdom. Through processes of sacralization, politicization, display, appropriation, commoditization, and protest at various points in history, the Hindu image has been signified and resignified by Hindus and non-Hindus alike. Hindu images serve a multitude of purposes—functioning simultaneously, interdependently, and independently in the religious, social, political, artistic, and commercial realms. While the image of the god/goddess plays numerous roles, this chapter focuses on the image as mūrti, idol (in a pejorative sense), political symbol, art, and commodity.
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Streszczenia konferencji na temat "Religious images and art"

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Narmanlıoğlu, Haldun, i Azime Ayşenur Çelimli. "A Critical Reading on the Visual Production of Infodemic". W COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.008.

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The problematic relationship between communication technologies and information is among the essential discussion topics of the academy. Concepts such as information bombardment, disinformation, and misinformation refer to incorrect, distorted, and corrupt information disseminated by means of communication. Unhealthy information and knowledge are seen as the biggest obstacle to the formation of a healthy public opinion. In the Covid 19 epidemic, which affects the whole world, the relationship between communication tools and information has come to the fore again. An "infodemic," which can be defined as "false, distorted information epidemic/pandemic," describes the truly distant information flowing to the public about the Covid 19 pandemic through different communication tools. On the other hand, today, visual images have become the most crucial source in disseminating information and the production of meaning. With digitalization, our daily life is shaped by an image-filled culture surrounded by artificial visuals more than ever before. The curiosity of this work is "How is infodemic produced through visual images?" It is based on the question. For this purpose, Twitter has been chosen as the research universe of important social networking sites. The study showed how the infodemia spread about Covid 19 vaccine in Turkey was produced visually on Twitter and analyzed with content analysis. The critical visual literacy method proposed by Douglas Kellner was adopted for analysis. In line with the suggestion of Kellner, the political, ideological, religious, and so on semantic load has been tried to be interpreted.
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Yan, Liang, i Zhenzhen Sun. "The Religious Fanaticism and lOdd Coincidencesr of Gothic Architectural Art". W 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.59.

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Wahyudie, Prasetyo, Antariksa Antariksa, Lisa Wulandari i Herry Santosa. "Place Attachment Framework In Preservation Religious Built Environment". W Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294717.

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Nizhnikov, Sergei, i Le Thi Hong Phuong. "Specificity of Mahayana Buddhism in Vietnamese Intracultural Religious Communication". W 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.351.

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Eremin, Alexander. "Representation Of Power In The Context Of Religious Images". W International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.390.

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Shen, Lin. "The Influence of Ancient Rus Religious Art Elements on Russian Modern Paintings". W International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.153.

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Wang, Ya’nan. "The Religious Consciousness in “Povest vremennykh let” (Tale of Bygone Years)". W 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.028.

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Chistyakova, Olga. "Relationship of Self and Other in Cultural and Religious Communications". W 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.161.

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Chen, Jing. "A BriefnAnalysis on the Issue of Religious Belief of Contemporary College Students". W International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.31.

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"Cover Art". W 2011 24th SIBGRAPI Conference on Graphics, Patterns and Images (Sibgrapi). IEEE, 2011. http://dx.doi.org/10.1109/sibgrapi.2011.60.

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Raporty organizacyjne na temat "Religious images and art"

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Yan, Yujie, i Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, maj 2021. http://dx.doi.org/10.17760/d20410114.

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Recent advances in visual sensing technology have gained much attention in the field of bridge inspection and management. Coupled with advanced robotic systems, state-of-the-art visual sensors can be used to obtain accurate documentation of bridges without the need for any special equipment or traffic closure. The captured visual sensor data can be post-processed to gather meaningful information for the bridge structures and hence to support bridge inspection and management. However, state-of-the-practice data postprocessing approaches require substantial manual operations, which can be time-consuming and expensive. The main objective of this study is to develop methods and algorithms to automate the post-processing of the visual sensor data towards the extraction of three main categories of information: 1) object information such as object identity, shapes, and spatial relationships - a novel heuristic-based method is proposed to automate the detection and recognition of main structural elements of steel girder bridges in both terrestrial and unmanned aerial vehicle (UAV)-based laser scanning data. Domain knowledge on the geometric and topological constraints of the structural elements is modeled and utilized as heuristics to guide the search as well as to reject erroneous detection results. 2) structural damage information, such as damage locations and quantities - to support the assessment of damage associated with small deformations, an advanced crack assessment method is proposed to enable automated detection and quantification of concrete cracks in critical structural elements based on UAV-based visual sensor data. In terms of damage associated with large deformations, based on the surface normal-based method proposed in Guldur et al. (2014), a new algorithm is developed to enhance the robustness of damage assessment for structural elements with curved surfaces. 3) three-dimensional volumetric models - the object information extracted from the laser scanning data is exploited to create a complete geometric representation for each structural element. In addition, mesh generation algorithms are developed to automatically convert the geometric representations into conformal all-hexahedron finite element meshes, which can be finally assembled to create a finite element model of the entire bridge. To validate the effectiveness of the developed methods and algorithms, several field data collections have been conducted to collect both the visual sensor data and the physical measurements from experimental specimens and in-service bridges. The data were collected using both terrestrial laser scanners combined with images, and laser scanners and cameras mounted to unmanned aerial vehicles.
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