Artykuły w czasopismach na temat „Religious images and art”
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1
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.
3
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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Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists". Философия и культура, nr 2 (luty 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.
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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).
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Stahl, Devan. "The Prophetic Challenge of Disability Art". Journal of the Society of Christian Ethics 39, nr 2 (2019): 251–68. http://dx.doi.org/10.5840/jsce2019102312.
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For many persons with chronic illness and disability, medical images can come to represent their stigmatized “otherness.” A growing group of artists, however, are transforming their medical images into works of visual art, which better represent their lived experience and challenge viewers to see disability and illness differently. Although few of these artists are self-professed Christians, they challenge the Church to live into the communion to which it has been called. Using a method of correlation, Christian ethicists can find within this art the potential for: (1) creative resistance to modern deployments of biopower, (2) a celebration of divine poiesis, (3) opportunities for communion, and (4) prophetic challenges to the cult of normalcy. Disability art encourages a new ethic of communion in which embodied vulnerabilities are shared, celebrated, and reoriented toward the ground of being.
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HSU, Maria Min-Hui. "An Investigation into the Importance of «Inculturation» in the Image of Our Lady in Relation to Visual Arts in Religious Education according to Monica Liu". Foro de Educación 18, nr 1 (4.01.2020): 167–87. http://dx.doi.org/10.14516/fde.677.
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The purpose of this paper is to emphasize the importance of «inculturation» in the religious images drawn by Monica Liu (Ho-Pei), a unique artist who promoted Religious Art and Education in Taiwan. Monica Liu adopted Western Christianity into Chinese art to create paintings that reflect her love for nature as well as Our Lady who is deeply venerated in the Catholic Church and regarded as the mother of humanity. This paper is a qualitative research based on an interview conducted with Huang Wan-Yun, a protégée of Monica Liu who had a very close relationship with the latter during the last ten years of her life. This research is also based on some writings that Monica left behind and several articles written about her by acquaintances. The culture and faith expressed by Monica Liu through Our Lady’s images help us to deeply understand the value and relationship between religious art and faith. In addressing the needs of the secular world, religious art has encountered difficulties in terms of contemporary aesthetics. Monica’s distinct aesthetic considered «moral virtues» important to modern or contemporary art and their absence could result in distorted values. Therefore, true mission work in the field of religious art has to be close to everyone’s heart, as well as emphasize the importance of inculturation through natural representations and create awareness of taboo in art, which involves «additional and supplementary» elements in original artworks.
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Baskind, Samantha. "Impossible Images: Contemporary Art after the Holocaust (review)". American Jewish History 91, nr 1 (2003): 169–71. http://dx.doi.org/10.1353/ajh.2004.0023.
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Kahn, Brian. "Impossible Images: Contemporary Art after the Holocaust (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 24, nr 1 (2005): 160–62. http://dx.doi.org/10.1353/sho.2005.0191.
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Mellet, Paul-Alexis. "Images polémiques, images dissidentes. Art et Réforme à Strasbourg (1520-vers 1550), by Frank Muller". Church History and Religious Culture 99, nr 1 (27.05.2019): 83–85. http://dx.doi.org/10.1163/18712428-09901025.
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Moran, Maureen. "THE ART OF LOOKING DANGEROUSLY: VICTORIAN IMAGES OF MARTYRDOM". Victorian Literature and Culture 32, nr 2 (wrzesień 2004): 475–93. http://dx.doi.org/10.1017/s1060150304000610.
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BETWEEN1863AND1865 Gerard Manley Hopkins maintained a “little bk. for sins” as a record arising from his daily examination of conscience (6). Many of the failings seem sexually oriented: “Looking with terrible temptation at Maitland” and “Looking at temptations esp. at Geldart naked” (191, 174). The poet's guilty annotations of the illicit homoerotic pleasures of spectatorship are even more striking when the devout Hopkins associates perverse desire with the contemplation of bodies tortured for a religious cause: “Evil thought slightly in drawing made worse by drawing a crucified arm on same page,” or, even more directly blasphemous, “The evil thought in writing on our Lord's passion” (167, 157).
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hudgins, sharon. "Edible Art: Springerle Cookies". Gastronomica 4, nr 4 (2004): 66–71. http://dx.doi.org/10.1525/gfc.2004.4.4.66.
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Edible Arte: Springerle Cookies Springerle are white, anise-flavored cookies with a picture or design imprinted on the tops by specially carved rolling pins or flat molds. Sometimes the raised designs are also painted to enhance their appearance. A regional specialty of German Schwabia, Springerle are also baked in Alsace, Switzerland, Bavaria, and Bohemia. With roots in the pre-Christian era, Springerle are among several kinds of cookies shaped, molded, or decorated to depict animate or inanimate objects. The designs embossed on the tops of Springerle include religious figures, plants and animals, secular motifs, and symbolic images. The carving of wooden Springerle molds is an art in itself, and many European museums have collections of historical cookie molds. Today Springerle are traditionally baked for the Christmas season, although the motifs on historical molds indicate that these cookies were also made for religious holidays and secular events throughout the year in northern Europe.
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Remtilla, Aliaa. "Potentially an “Art Object”: Tajik Ismaʿilis’ Bāteni and Zāheri Engagement with Their Imam’s Image". Journal of Persianate Studies 4, nr 2 (2011): 189–207. http://dx.doi.org/10.1163/187471611x600387.
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Abstract This essay explores the way Ismaʿili Muslims living in the Tajik district of Ishkashim engage with images of their religious leader, the Imam (Aga Khan IV). I use Gell’s theory of art and agency to think through instances in which Ishkashimis imbue photographs of their Imam with the capacity to act. They do not treat these images as idols but abduct qualities of the Imam himself, such as his benevolent presence, from his icon. Ishkashimis do not imbue all images of their Imam with agency. Other images, such as newspaper photographs and films, provide information about the Imam as a politically engaged individual. They do not have the agency to act directly on Ishkashimis until and unless Ishkashimis reclaim their own agenda for the Imam’s image by abstracting it from contextualized information, and once more imbue it with agency. The article frames this discussion of images in the Ismaʿili concepts of zāher (visible, apparent, temporal, transient, exoteric) and bāten (interior, hidden, spiritual, eternal, esoteric), questioning the effect of the Imam’s post-Soviet zāheri presence on Ishkashimis’ engagement with his images.
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Atkinson, Maggie. "Healing Vibrations through Visionary Art". Religion and the Arts 19, nr 4 (2015): 339–88. http://dx.doi.org/10.1163/15685292-01904003.
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Nineteenth-century visionary artist Georgiana Houghton believed in the healing qualities of her art, and she educated religious teachers and clergy about the nature of her spiritual images. This article examines Houghton’s mediumistic paintings and seeks to demonstrate how her experimentation with vibrant colors and manipulation of form prefigured early modernist painting techniques. In addition, this analysis expands on how Houghton transformed her knowledge of the tenets of Spiritualism, which she amalgamated with her understanding of the science of botany to produce flower form spiritual portraits that she later developed into complex visionary abstracted pictures.
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Holt, Amy-Ruth, i Karen Pechilis. "Contemporary Images of Hindu Bhakti: Identity and Visuality". Journal of Hindu Studies 12, nr 2 (1.08.2019): 129–41. http://dx.doi.org/10.1093/jhs/hiz007.
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Abstract Historians writing on modernity often remark on the power of the visual, appealing to Walter Benjamin's influential observation that ‘modernity under late capitalism is dominated, and haunted, by dream-images and commodified visual fetishes’ (Benjamin 1968; Levin 1993, p.23; Ramaswamy 2003, p.xiii). Yet, studies of bhakti commonly focus on the literature and biographies of the bhakti saints instead of its visual dimensions in art, material culture, and performance. In this special issue, scholars of religion and art history writing on diverse visual cultures, communities, and geographical locations under the umbrella of the contemporary era reveal two distinguishing features of bhakti. The first is bhakti's impetus to establish the artist's, devotee's, or saint's individual and communal identity that resituates today's religion. The second is bhakti's formation of emotive imagery with visual agency animated by participatory desires that inspire the creation and re-creation of imagery and performances that speak directly to the everyday. Identity and visuality, found together in contemporary bhakti imagery, shape our distinctive analysis and redirect Benjamin's original statement from postcolonial nation-building towards the vitality of devotional participation.
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Thiessen, Gesa Elsbeth. "Not So Unorthodox: A Reevaluation of Tricephalous Images of the Trinity". Theological Studies 79, nr 2 (29.05.2018): 399–426. http://dx.doi.org/10.1177/0040563918766704.
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Among the various iconographies of the Trinity which emerged in Christian art, the three-headed or trifrons image has a contested history. Warned about and censured by two popes, Urban VIII and Benedict XIV, this iconography, despite condemnations, was applied, however, by leading Renaissance artists and survived into the nineteenth century in folk art. This article considers its pre-Christian background, the sixteenth-century theological debates, and, finally, in a detailed engagement with a range of tricephalous images, it critically reevaluates and seeks to demonstrate the disputed orthodoxy of this iconography from a theological, artistic, and aesthetic perspective.
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Lymberopoulou, Angeliki. "Sight and the Byzantine icon". Body and Religion 2, nr 1 (14.06.2018): 46–67. http://dx.doi.org/10.1558/bar.36484.
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This article addresses the sense of sight through case studies drawn from Byzantine art, the art of Orthodox Christianity. Vision is central to Orthodox worship, facilitated by images known as icons. By enabling the visualization of the invisible divine, the importance of icons is paramount in enhancing the faithful’s religious experience.
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Jasper, David. "In the Beginning Was the Word?" Biblical Interpretation 6, nr 3-4 (1998): 426–36. http://dx.doi.org/10.1163/156851598x00093.
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AbstractLeo Steinberg's republished and much expanded work, The Sexuality of Christ in Renaissance Art and in Modern Oblivion, argues that the custom in Renaissance paintings of portraying the genitals of the Christ Child has a serious theological purpose which our word-based culture and tradition has consigned to 'oblivion'. His book has profound implications for the status of the visual image in theological reflection and the nature of the 'textuality' of art as it reads, and is read by, the textuality of the Bible. Furthermore, such images contribute to contemporary debates concerning gender and the nature of our response to images which may indicate different associations in different cultural circumstances. Steinberg's book is a major contribution to the interdisciplinary study of theology and art and the importance of 'seeing' what the niceties of 'modern oblivion' and our 'wordy culture' prefer to avoid or cover up.
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Lewis-Williams, J. David, i David G. Pearce. "San rock art: evidence and argument". Antiquity 89, nr 345 (czerwiec 2015): 732–39. http://dx.doi.org/10.15184/aqy.2014.51.
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Whether or not a ‘trance-dance’ akin to that of today's Kalahari San (Bushmen) was performed by southern /Xam San in the nineteenth century has long been the subject of intense debate. Here the authors point to parallels between nineteenth-century records of San life and beliefs and twentieth-century San ethnography from the Kalahari Desert in order to argue that this cultural practice was shared by these two geographically and chronologically distant groups. More significantly, it is suggested that these ethnographic parallels allow a clearer understanding of the religious and ritual practices depicted in the southern San rock art images.
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Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings". Review of Ecumenical Studies Sibiu 6, nr 1 (1.12.2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.
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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
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Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY". Study of Religion, nr 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.
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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives a new interpretation of traditional Christian images of martyrs and Holy Virgin. The technique of video-art makes images dynamic, so spectator can “live” in that space. Stefan Knor aims by the means of contemporary art to actualize the fundamental theological ideas, for example, the idea of stairway to heaven. For the best acceptance of his works he collaborates with church members. The author claims that these artists become the religious owing to such characteristics as depth and sincerity in the interpretation of fundamental anthropological problems and the absence of irony (which is frequent for contemporary art). The article’s author shows that the interiors of the churches can harmoniously accept the works of contemporary artists, provided that the artists have to respect the religious traditions and sacred space of these churches.
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Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art". Synthesis 25, nr 2 (31.12.2018): e042. http://dx.doi.org/10.24215/1851779xe042.
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In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather than appearing as an example of infinite toil and excess in the manner of earlier literary and iconographic representations, Heracles is presented in the Classical period as a model of virtue and self-restraint and a symbol of the triumph of merit over adversity and divine persecution.
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Greeley, June-Ann. "“Who Would Believe What We Have Heard?”: Christian Spirituality and Images from the Passion in Religious Art of New Spain". Religion and the Arts 13, nr 2 (2009): 181–204. http://dx.doi.org/10.1163/156852909x422737.
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AbstractThe colonial art of New Spain/Mexico provides the viewer with a locus of examination into the robust Christianity that emerged over time out of a native spirituality newly laden with the contours and images from the Old World theology of late medieval/early Catholic Reformation Spain. Franciscan and especially Jesuit missionaries, impelled by a devotional zealotry, championed an apocalyptic vision of hope and suffering that was well suited for artistic expression. Religious art, whether or not patronized by European colonizers, became an instrument for the missionaries to teach and for the native artists to interrogate religious doctrine, and some artists, consciously or not, created their art as a response to that catechesis, a subtle fusion of ancient passion with the dramatic intensity of the new Catholic faith. One array of images in particular, that of the dolorous Passion of the Christ, was especially vibrant in the imaginations of the native artists and in the contemplation of the European missionaries and patrons. The image of the Suffering Servant resonated in the hearts and in the daily lives of the people just as it humbled missionary ardor, and excited a spiritual enthusiasm that forged an art of stunning doctrinal intimacy.
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Bland, Kalman. "Welcoming Images: Medievally". IMAGES 1, nr 1 (2007): 1–2. http://dx.doi.org/10.1163/187180007782347575.
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AbstractInformed by theoretical considerations distinguishing "visual culture" from "art history" as articulated by W. J. T. Mitchell, this essay compares the editorial programs of two neonatal, overlapping, yet distinct journals: Ars Judaica and Images. The essay concludes by considering passages from two medieval Jewish authorities, Joseph Albo and Judah Alharizi, that suggest new horizons in criticism made possible by Images. Among these horizons are "investigations of the negative and repellent."
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Luchesi, Brigitte. "Looking Different: Images of Hindu Deities in Temple and Museum Spaces". Journal of Religion in Europe 4, nr 1 (2011): 184–203. http://dx.doi.org/10.1163/187489210x553557.
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AbstractEuropeans familiar with sacred Hindu art from visits to museums often are perplexed when they encounter similar objects in temples and sacred sites. The exhibits tend to look different. This can be explained by the different ways to present them as well as the different underlying conceptions which in turn guide the perception and behaviour of the beholders.
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Loftus, Belinda. "Northern Ireland 1968–1988: Enter an Art Historian in Search of a Useful Theory". Sociological Review 35, nr 1_suppl (maj 1987): 99–133. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00084.x.
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Publications and museum or art-gallery displays have tended to separate the visual images related to the Northern Ireland troubles into illustrations of history, works of art and media imagery. These distinct categories to some degree reflect the growing specialisation of art workers in Europe from the late eighteenth century onwards. But in the context of the Northern Ireland conflict visual images patently cut across such distinctions. Fine art works have direct political and therefore historical impact; media images use and are used by the producers of popular emblems; visual styles are held in common by all categories of imagery. The perpetuation of the separate history illustration/artwork/media picture categories when dealing with Northern Ireland imagery is therefore attributed to the formal and informal training of British and Irish historians and art historians. An alternative theoretical basis for examining the images related to the Northern Ireland conflict is suggested, in which those images are seen as parts of visual language codes, whose constant use and re-use simultaneously adds further layers of meaning to them, ensures their real impact on social, political, economic and religious developments, and modifies the overall visual language of their producers/users. This approach is related to the work of German and Austrian art-historians and their successors, American media studies focusing on the links between institutional organisation and visual style, anthropological analyses of ritual symbols and recent sociological use of linguistic theory.
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TASSI, NICO. "‘Dancing the image’: materiality and spirituality in Andean religious ‘images’". Journal of the Royal Anthropological Institute 18, nr 2 (2.05.2012): 285–310. http://dx.doi.org/10.1111/j.1467-9655.2012.01744.x.
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Morgan, David. "Imaging Protestant Piety: The Icons of Warner Sallman". Religion and American Culture: A Journal of Interpretation 3, nr 1 (1993): 29–47. http://dx.doi.org/10.1525/rac.1993.3.1.03a00020.
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Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.
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Natsoulas, Anthula. "Group Symmetries Connect Art and History with Mathematics". Mathematics Teacher 93, nr 5 (maj 2000): 364–70. http://dx.doi.org/10.5951/mt.93.5.0364.
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Throughout history, different cultures have produced designs to be used as ornamentation, as part of ceremonies, and as religious symbols. Many of these designs are mathematical in nature, and their bases are often the transformations of reflection and rotation in the plane. The images form groupings that appear to have an underlying unity. Thus, history and art merge to create a medium through which students can study the concrete operations of reflection and rotation in the plane, as well as the more abstract concept of symmetry groups. The resulting patterns give students a sense of the potential for creativity inherent in mathematics.
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Schildgen, Brenda Deen. "Thomas More and the Defense of Images in the Dialogue Concerning Heresies". Moreana 47 (Number 181-, nr 3-4 (grudzień 2010): 235–56. http://dx.doi.org/10.3366/more.2010.47.3-4.12.
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Thomas More’s Dialogue Concerning Heresies (1529) argues against iconoclasm in the context of Reformation attacks against the role of art in pious practices. In probing the biblical prohibitions against “idols” and not against images, he follows a long tradition of defense of images in Catholic religious practice. Repeating the Byzantine councils that had debated the image issue and Gregory the Great’s sixth-century letters to the Bishop of Marseilles, he distinguishes between worship and veneration to argue that devotion to images is not idolatry. His unique contribution is to argue against “sola scriptura” by proposing that images and words are both signs.
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Galli, Marco. "Hellenistic Court Imagery in the Early Buddhist Art of Gandhara". Ancient Civilizations from Scythia to Siberia 17, nr 2 (2011): 279–329. http://dx.doi.org/10.1163/157005711x595158.
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Abstract The focus of the paper is on the relationship between Gandharan artistic culture and the presence of a Hellenistic court milieu during the 1st cent. before and after CE in the territories of Ancient Uḍḍīyāna. What emerges from new literary and archaeological evidences are significant interactions between artistic production and the evergetism made by the princes of Apraca and Oḍi: many evidences demonstrate the substantial involvement as donors of these local dynasties in the construction of the sacred landscape. What influence did these local dynasties have in the structuring of religious communication? How was this local power and his Hellenistic background reflected in the images and complex decorative Buddhist monuments? In order to understand the dynamics between power and religious communication in the sacred space of Early Gandharan society not only some well-known iconographic themes are now interpreted as self-representations of an aristocratic habitus, but also the presence of a ‘beholder in the image’ is detected as powerful visual strategy to stage the religious experience as a suggestive ritual performance.
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Litvinova, Olga. "BIBLE QUOTES AND IMAGES IN THE POETRY OF MARIA SHKAPSKAYA". Проблемы исторической поэтики 19, nr 2 (maj 2021): 198–234. http://dx.doi.org/10.15393/j9.art.2021.9462.
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This article is the first to examine in detail the complete corpus of Biblical quotations in the poetry of Maria Shkapskaya, including unpublished handwritten texts. The article uses the material in books Mater dolorosa (1921), Chas vecherniy (1913—1917) (The Evening Hour (1913—1917), 1922), Baraban Strogogo Gospodina (The Drum of the Strict Master, 1922), Krov’-ruda (Blood-ore, 1922), Zemnye remyosla (The Earthly Crafts, 1925) and the poem “Yav’” (“Reality,” 1923), as well as texts from the notebooks of 1903—1907, 1913—1920 and Vcherashnee, a project of a book of poems (Yesterday, 1916) with a preface by Z. Gippius. The intention is to explain the role and significance of the biblical corpus of texts for the author's poetry. The task is to consider in chronological order all the poems by Maria Shkapskaya that are somehow related to the texts of the Holy Scripture, while clarifying the author’s basic principles of working with these texts. The thematic inversions characteristic of Shkapskaya’s poetry are revealed. The general thesis states that the nature of Shkapskaya’s appeal to the texts of Holy Scripture has changed over the years, and her attitude to them has consistently shifted from neutral-calm to a tense one that requires dialogue. Growing increasingly more conflicted and questioning over time, Shkapskaya’s quoting of biblical texts assumes the nature of a personal experience, which clearly indicates the author’s reflections in this direction and a deeply religious understanding of the surrounding reality and poetic creativity as such.
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Hudgins, Nicole. "Art and Death in French Photographs of Ruins, 1914-1918". Historical Reflections/Réflexions Historiques 42, nr 3 (1.12.2016): 51–70. http://dx.doi.org/10.3167/hrrh.2016.420304.
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The avalanche of ruin photography in the archives, albums, publications, and propaganda of World War I France challenges us to understand what functions such images fulfilled beyond their use as visual documentation. Did wartime images of ruin continue the European tradition of ruiniste art that went back hundreds of years? Or did their violence represent a break from the past? This article explores how ruin photography of the period fits into a larger aesthetic heritage in France, and how the depiction of ruins (religious, industrial, residential, etc.) on the French side of the Western Front provided means of expressing the shock and grief resulting from the unprecedented human losses of the war. Using official and commercial photographs of the period, the article resituates ruin photography as an aesthetic response to war, a symbol of human suffering, and a repository of rage.
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Jasper, D. "Old Testament Apocryphal Images in European Art (Gothenberg Studies in Art and Architecture, 30). By Elizabeth Philpot." Literature and Theology 25, nr 4 (22.08.2011): 479–80. http://dx.doi.org/10.1093/litthe/frr033.
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Rissolo, Dominique. "In the Realm of Rain Gods: A Contextual Survey of Rock Art across the Northern Maya Lowlands". Heritage 3, nr 4 (27.09.2020): 1094–108. http://dx.doi.org/10.3390/heritage3040061.
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Regional rock art studies have provided insight into the role of caves in Maya ideology and worldview. In addition to the content of the imagery itself, the placement or siting of rock art with respect to natural and cultural features within the cave environment can reveal much about the function and meaning of cave use practices. This comparative analysis of rock art emphasizes contextual considerations with a discussion on the spatial and symbolic relationships between images in individual caves. Rock art in the northern Maya lowlands is commonly associated with watery areas and pathways leading to pools in caves. Across the northern Yucatan Peninsula, watery caves witnessed the rites and rituals of religious practitioners who appealed to the rain gods. Rock art scenes throughout this region were often devised and positioned in ways that reveal or are consistent with this unique and pervasive emphasis on rain and agricultural fertility in religious practice.
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Sansi, Roger. "From crime to art. Contradictions in the cultural transformation of Afro-Brazilian Candomblé". Social Compass 67, nr 2 (6.05.2020): 238–51. http://dx.doi.org/10.1177/0037768620917090.
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The Afro-Brazilian religion Candomblé radically changed in the twentieth century. From being persecuted as crime and sorcery, it has become identified as culture. Its objects and images have become works of art. This article presents this process of ‘culturalization’ through objects and images. This transformation, however, resulted in some contradictions, that left some of these objects in ambiguous positions. This case study aims to contribute to current debates on the agency of objects and images in material religion.
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Peers, Glenn. "Art and Identity in an Amulet Roll from Fourteenth-Century Trebizond". Church History and Religious Culture 89, nr 1 (2009): 153–78. http://dx.doi.org/10.1163/187124109x408041.
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AbstractThis article examines a unique survival from the Middle Ages: an amulet roll, now divided between libraries in New York City and Chicago, which now measures approximately 5 m in width and 8–9 cm in width, which has Greek texts on the obverse and Arabic on the reverse, and a series of very fine illustrations on the Greek side. Analysis of the roll reveals that it originated in Trebizond in the second half of the fourteenth century, and the roll is therefore considered within the cultural and political context of that small but active Greek kingdom. The article pays particular attention to the text and representation of a rare figure, Evgenios of Trebizond, who is included among a series of saints and prophets in order to enact that saint's protection of the (evidently elite) patron of the roll. And through the series of texts and images about the letter and self-portrait of Christ, the Mandylion, the roll also stated the sacred destiny of Trebizond. The roll generated identity through its Greek Christian texts and images, and made clear the special role God had chosen for Trebizond.
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Küster, Volker. "Speaking of God in Memory of September 11th, 2001. An Aesthetic Approach". Exchange 36, nr 3 (2007): 231–45. http://dx.doi.org/10.1163/157254307x205748.
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AbstractGod talk is visual speech, even contrary to monotheistic religions' prohibition against images. The power of the images unleashed by terrorists on 9/11 is grounded in a conflict of powerful images of God that drive the combatants into this jihad and 'war against evil or terror' respectively. This article contrasts works of art portraying the violence and terror of 9/11 or the conflicts in the Muslim world with the images of 9/11 itself. Three criteria of vision, distance and inviolacy are derived from this comparative approach. They can also be used as a yardstick to gauge competing images of God. 9/11 is not the beginning of a new era as the Western media claimed but is a symbol of the repercussions of the wave of globalization initiated by the implosion of the communist block, the expansion of neo-liberal capitalism and the compression of the world by new media technologies.
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Nechvoloda, E. E. "THE ISLAMIC INFLUENCE ON THE TRADITIONAL BASHKIR ART". Islam in the modern world 14, nr 3 (2.10.2018): 235–46. http://dx.doi.org/10.22311/2074-1529-2018-14-3-235-246.
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It is the geometric and vegetal ornamental motifs that dominate in the works of traditional arts and crafts of the Bashkir people. The Bashkirs are Muslims. Therefore, the popularity of abstract ornamental forms in their artistic creativity is often associated with the religious prohibition against images of human beings, animals and birds. However, a comparative historical study of the Bashkir ornaments shows that basic types of geometric and vegetal motifs and also their compositions were formed long before the adoption of Islam by the ancestors of the Bashkirs. Anthropomorphic, ornitomorphic and zoomorphic images were still preserved in the Bashkir art and had very stylized geometric shapes in accordance with the general structure of the composition, type and graphics of the ornament. The preservation of these images in the art was favoured probably not only by a high degree of stylization, but also by the fact that for a long time the Bashkirs, despite the Islamization, remained committed to many remnants of the pre-Islamic worldview with its totemic cults. It can be stated that the adoption of Islam could not ‘edit’ the traditional decorative art of the Bashkirs and exclude archaic motifs and compositions. Old compositions were revised in terms of the new religion. Thus, the fl oral and foliate ornament became associated with the Garden of Eden. New motifs, such as the images of mosques, qumgan (a special jug) and the Crescent, found their way into the Bashkir ornaments together with the new worldview and rituals. Traditional embroidery could be supplemented with embroidered texts in Arabic script. The decorated objects included those directly associated with the Muslim traditions (scullcaps, prayer rugs 'namaslyk', calligraphy pictures 'shama’il').
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Pinto, Sílvia, i Moisés de Lemos Martins. "Binding logics in art". Comunicação e Sociedade 31 (29.06.2017): 271–86. http://dx.doi.org/10.17231/comsoc.31(2017).2617.
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The work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of art in three main binding logics: art as a magical activity (also in relation to index logic); art as mimesis; and art as language. The image, or rather the multiple realities we call “image”, takes each one of these links, in an exchanging or simultaneous way, since image is their heiress. Taking into account the present context of media images hypervisibility, we aim, with this study, to show the importance of art and its mythical-religious ascendance in what concerns media image redefinition.
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Williams, Joanna. "Criticizing and Evaluating the Visual Arts in India: Preliminary Example". Journal of Asian Studies 47, nr 1 (luty 1988): 3–28. http://dx.doi.org/10.2307/2056357.
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By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?
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Moore McAllen, Katherine. "Jesuit Winemaking and Art Production in Northern New Spain". Journal of Jesuit Studies 6, nr 2 (21.06.2019): 294–314. http://dx.doi.org/10.1163/22141332-00602006.
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This article presents new research on Jesuit visual culture in northern New Spain, situating Santa María de las Parras (founded 1598) as an important site where the Jesuits and secular landowners became involved in the lucrative business of winemaking. Viticulture in Parras helped transform this mission settlement into a thriving center of consumption. The Jesuits fostered alliances with Spanish and Tlaxcalan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. This financial support allowed the Society to purchase paintings by prominent artists in Mexico City and import them to Parras. The Jesuits arranged their chapels in a carefully ordered sequencing of images that promoted Ignatian spirituality and echoed iconographic decoration programs in Mexico City and Rome.
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Pereira, Diana. "Healing Touch: Clothed Images of the Virgin in Early Modern Portugal". Ikonotheka, nr 29 (16.09.2020): 51–78. http://dx.doi.org/10.31338/2657-6015ik.29.7.
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Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental catalogue of Marian shrines and pilgrimage sites, this source offers a unique insight into the religious experience and the reciprocal relationship between image and devotee in Early Modern Portugal, and is a particularly rich source when describing the believers’ pursuit of physical contact with sculptures. This yearning for proximity is partly explained by the belief in the healing power of Marian sculptures, which in turn seemed to be conveniently transferred to a myriad of objects. When contact with the images themselves was not possible, devotees sought out their clothes, crowns, rosary beads, metric relics, and so forth. Items of clothing such as mantles and veils were particularly used and so it seems obvious they were not mere adornments or donations, but also mediums and extensions of the sculptures’ presence and power. By focusing on the thaumaturgic role of the statues’ clothes and jewels, I will argue how the practice of dressing sculptures was due to much more than stylistic desires or processional needs and draw attention to the many ways believers engaged with religious art in Early Modern Portugal.
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Racine, Jean-François. "Book Review: Contested Ethnicities and Images. Studies in Acts and Art. By David L. Balch". Theological Studies 78, nr 1 (marzec 2017): 267–68. http://dx.doi.org/10.1177/0040563916682641.
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