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Статті в журналах з теми "Ancestor portrait"
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Carrier, David. "Meditations on a Chinese Ancestor Portrait." Artus 2011 - 2012: The Collector's Edition 32, no. 1 (August 2, 2013): 200–207. http://dx.doi.org/10.1386/artus.32.1.200_3.
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Stamm, Laura. "Delphinium’s portrait of queer history." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 38–52. http://dx.doi.org/10.33178/alpha.16.03.
Повний текст джерелаАнотація:
Delphinium: A Childhood Portrait of Derek Jarman (2009) portrays filmmaker Matthew Mishory’s interpretation of the childhood of Derek Jarman described in interviews and autobiographical writing such as At Your Own Risk. The portrait of Jarman honours his memory with a Super 8 inscription that repeats the queer sensibility of Jarman’s cinematic and painterly work. Mishory’s film positions Jarman as his filmmaking predecessor; even more so, it positions Jarman as a sort of queer ancestor. Delphinium’s sense of ancestry demands a reappraisal of Jarman’s work that foregrounds its creation of queer lineage. This article does just that, looking at Jarman’s Caravaggio (1986) and Edward II (1991) as both searches for queer origins and formations of queer futures. Through their explorations of queer continuity, Jarman’s films inscribe the process by which one learns to become queer and navigate a world that is so often hostile to queer existence. Their preservation of individual figures of the past provides a queer family history and a tool for education, a means for queers to understand their origins, as well as how to make sense of their own place in the world
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Chikhladze, Nino. "House of Vardanisdze and the Painting of Jumati Church of Archangels of the First Half of the Fourteenth Century." Caucasus Journal of Social Sciences 17, no. 1 (December 24, 2024): 11–28. https://doi.org/10.62343/cjss.2024.237.
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The article looks at the issues of establishing a powerful medieval Georgian feudal clan – the Vardanisdze – in Guria and, consequently, those of adopting the hereditary title of Gurieli seen through the portraits identified in the murals of Jumati Monastery. Based on the analysis of artistic style, the painting of the Church dates from the first half of the fourteenth century. The memorial portrait of the prideworthy ancestor of the Vardanisdze family was identified during the 2022 expedition of Tamaz Beradze Institute of Georgian Studies of the University of Georgia. Indeed, in the first half of the fourteenth century, the Gurieli - governor of Guria- of the Vardanisdze dynasty, who would most probably be depicted on the north wall near the altar of the church, must have been the initiator of representing the portrait of their ancestor. Regrettably, the murals succumbed to the later period painting and architectural alterations of the church, although the layer of the painting of the first half of the fourteenth century on the western part of the north wall still preserves a donor portrayal of a strange couple - a monk and a nun. It is probable that the monk was the first Vardanisdze, who was granted the title of Gurieli after losing Svaneti dukedom
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Mezhzherina, H. "THE ANNALISTIC PORTRAITS OF THE XI–XIII CENTURIES AND THE HIERARCHY OF MEANINGS IN THE LEXEMS ПЛЕМЯ AND РОДЪ SEMANTIC STRUCTURE". Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, № 35 (2019): 78–91. http://dx.doi.org/10.17721/2075-437x.2019.35.08.
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The research focuses on the fragment «socio-ethical assessment of person» of the early East Slavic world view. The conceptual domain of the fragment has been illuminated in the substantive-adjectival discours. It is the first time that the hierarchy of lexicalsemantic variants in the structure of the meaning of the terms племя and родъ (descendant → family → tribe → genus, clan → social strata → people) coincides with the hierarchy of individualized and generalized socio-ethical portraits (an individualized portrait of a person → a portrait of a clan, a genus; a generalized portrait of a tribe → a portrait of a social strata → a portrait of a people) within the Kyiv Rus’ period world view. Lexems племя and родъ can be traced back to the roots with the original meaning «which multiplied, increased, grew from one root, from one ancestor» and due to this, are interchangeable in ancient Slavic writing (this is shown in the study of P. O. Lavrovskyi). The microfragment «portrait of the social strata» consists of ethical portraits of princes, princesses, clergy, etc. It was revealed that the semantics of the terms кънuзь and кънuгыни correlates with the semantics of the terms племя and родъ. In the content of all these terms there is a combination of the semantics of birth, family relationships, tribal relations with the semantics of knowledge. In our opinion, the reason for the coincidence of portraitsclergy with portraits of princes is the development of the Indo-European root reflexes (to which the term кънuзь goes back) in the direction of semantics saint, sacred. It was proved that the hierarchy of the world view microfragments repeats social-tribal relations, social and family relationships in Kyiv Rus’. Microfragment «portrait of a clan» is represented by namings Ольговичи, Володимиричи, Ростиславичи, Мстиславичи, etc. In a certain context, the term племя could denote a large family, separate branches of the genus, people, tribe. The conceptualization of an individualized image of a person was determined by its place in the family-class hierarchy. Comparison of socio-ethical portraits of persons of the princely family (grand dukes Boris, Gleb, Andryi Bogolubskyi, Alexander Nevskyi, Izyaslav Mstislavovich, etc.) revealed that the functional-semantic peculiarities of nouns and adjectives with the meanings of an ethical assessment of a person reflect subordination between family members. The article is based on the analysis of Old East Slavic literary monuments of the XI–XIII centuries.
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Popko, V. M. "The cult of the field marshal prince Piotr Wittgenstein in families of his descendants: portraits of glorious ancestor and family relics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 1 (February 16, 2019): 81–92. http://dx.doi.org/10.29235/2524-2369-2019-64-1-81-92.
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The author analyzed the collections of descendants of the marshal prince Piotr Wittgenstein in which the artifacts connected with this historic figure are stored. Special attention is paid to lifetime portraits of the prince and also their copies. Some of works are attributed and dated, historical circumstances of their creation are specified. In 1834 the marshal has last time visited St. Petersburg. The author connects with this event the emergence of several works of art which weren’t earlier known to experts. The most interesting ones among them are works of the French artist A. Ladurner. The article shows the actions of marshal’s descendants for promoting and memorilization of his personality. For the first time the materials from the Central archive Hohenlohe in Neunstein (Germany) are published. On the basis of these documents the author speaks about history of one marshal’s portrait which was transferred in 1892 to the regiment bearing his name. The marshal’s granddaughter princess Maria Hohenlohe became the initiator of writing of a portrait and its transfer. The author of the article associates such a rich iconography of P. Wittgenstein with the manifestation of his personal cult in families of his descendants.
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Salavessa, Eunice, José Aranha, Rafael Moreira, and David M. Freire-Lista. "Proto-Early Renaissance Depictions, Iconographic Analysis and Computerised Facial Similarity Assessment Connections: The 16th Century Mural Paintings of St. Leocadia Church (Chaves, North of Portugal)." Heritage 7, no. 4 (March 29, 2024): 2031–54. http://dx.doi.org/10.3390/heritage7040096.
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The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally, it aims to associate historical events, artistic discoveries, and the expansion of portraiture as propaganda of power during the Portuguese Proto-Renaissance and Early Renaissance. On the other hand, it focuses on the prevalence of the religious and devotional over the sacred in Manueline painting. A proposal was made to identify the characters that are fundamental to the meaning of the mural paintings. An experiment was conducted on seven characters from the paintings at St. Leocadia Church, which were then compared to Nuno Gonçalves’ portraits. Facial similarity analysis was conducted on the faces portrayed in the Panels of St. Vincent, a remarkable portrait gallery from 15th-century Portugal, which has been the subject of national and international research for 130 years. Other paintings that were analysed were the oil paintings of St. Peter and St. Paul and of Infanta St. Joana, which were created by the same Quattrocento master. The purpose of the mural paintings of St. Leocadia Church could be catechetical in nature or related to the ritual practices of royal ancestor worship in royal portrait apses of the churches. It could also be associated with the Portuguese maritime expansion and the macro-imperial ideology of D. Manuel I.
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Lomi, Benedetta. "Withered Wood and Dead Ashes—Making Sense of the Sacred Bodies of Kamatari at Tōnomine." Religions 13, no. 5 (May 13, 2022): 439. http://dx.doi.org/10.3390/rel13050439.
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The portrait statue of Fujiwara Kamatari (614–669) enshrined at Tōnomine is well known for its agency and mantic powers. Known to crack whenever the stability of the clan was under threat, the icon was carefully observed and cared for. However, not one but two portrait statues of the Fujiwara ancestor existed at Tōnomine in the Heian period, until one was destroyed in the infamous 1208 attack by armed supporters of Kinpusen. This article proposes first to investigate the relationship between these two icons, to show how their dynamic interaction is at the source of the cracking episodes that came to define Kamatari’s cult in later centuries. Then, by looking at the ways in which members of the Fujiwara clan reflected on the nature of the remains of the statue lost in 1208 and on the role of the extant one, it draws attention to how the ritualization of Kamatari’s statue was also couched in Confucian ideas and practices.
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Robinson, Francis. "Anniversary General Meeting of the Royal Asiatic Society, Thursday 12 May 2005." Journal of the Royal Asiatic Society 15, no. 3 (November 2005): 395–97. http://dx.doi.org/10.1017/s1356186305005328.
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AbstractI begin by thanking the Honorary Treasurer for his report for 2004. You will note that, sadly, this will be his last report to the Society's anniversary general meeting. During the coming year Kit Naylor will step down as Honorary Treasurer. He would like to do so now, but has very kindly agreed to see the Society through its move. This has the added benefit of permitting his intended successor, Brampton Mundy, to shadow him. Kit, the Society is hugely in your debt for the time, the judgement and the goodwill you have, over the past eight years, brought to its affairs. This meeting should know that Council has commissioned a portrait drawing of Kit with the Society's bust of Henry Thomas Colebrooke in the background. Colebrooke, you will recall, was the Society's first Director and is Kit's ancestor, to whom he bears an uncanny likeness. This is a personal acknowledgement by members of Council of Kit's contribution. The portrait will be on display upstairs.
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Baidhawy, Zakiyuddin. "DINAMIKA RADIKALISME DAN KONFLIK BERSENTIMEN KEAGAMAAN DI SURAKARTA." Ri'ayah: Jurnal Sosial dan Keagamaan 3, no. 02 (January 22, 2019): 43. http://dx.doi.org/10.32332/riayah.v3i02.1319.
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This paper tries to search for religious portrait that supports the process of radicalization which is potential in rising social fragmentation; and to study process and dynamics of conflicts, and ethnic, social-economic, political, and intra and inter-religious based radicalism. This study finds out that: Firstly, Surakarta has been known as burning city in political and SARA issues in Central Java and national level. Facts has shown that since 1910 this city witnessed mass riots and amok which are nuanced by ethnic, religious, and political issues. Indeed, some riots outspread their excess and influences to other cities around, such as May 1998 and October 1999 tragedies. Secondly, ideologically Surakarta is one of the well known cities as the breeding ground of radical Islamic groups, and Javanese traditional belief (Kejawen), which still firmly grasp their ancestor values influenced by both Kasunanan and Mangkunegeran kingdoms. Lastly, some religious based conflicts and violence and terrorism seem to be contemporary trend of radicalism in Solo.
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Donde, Dipanwita. "Selfhood and Subjectivity in Sufi Thought: Image of a Mole on Emperor Akbar’s Nose." Teosofi: Jurnal Tasawuf dan Pemikiran Islam 11, no. 2 (October 8, 2021): 216–39. http://dx.doi.org/10.15642/teosofi.2021.11.2.216-239.
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This paper addresses the making of portrait-images of Mughal emperors, in which distinctness and particularity in individual features distinguished portraits of emperor Akbar from his ancestors and successors. Scholars have argued that the technique of ‘accurate’ portraits or mimesis was introduced to Mughal artists with the arrival of renaissance paintings and prints from Europe, brought by Jesuit priests to the Mughal court. However, the question of why Mughal emperors saw a need to arrive at portraiture in the likeness of individuals remains to be addressed. This paper argues that the desire to portray a ruler, in all his individual particularity, can arise only within a literary and intellectual matrix in which the individual is valued and where ideas about selfhood and subjectivity have already permeated the philosophical, political, and literary thought. Tracing the transhistorical and transcultural migration of ideas and motifs from Timurid Central Asia to Mughal India, this paper examines the transference of Sufi thought on image-making practices, particularly portraiture, in the imperial court of the Mughals in early seventeenth century.
Keywords: Portrait-images of Akbar, subjectivity, Sufi thought, poetics between text and image.
Дисертації з теми "Ancestor portrait"
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Henni-Trinh, Duc Nicolas. "Le portrait dans l'art vietnamien. Évolution des usages, des techniques et de l'iconographie sous la dynastie Nguyễn (1802-1945)". Electronic Thesis or Diss., Sorbonne université, 2025. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2025SORUL007.pdf.
Повний текст джерелаАнотація:
Le portrait est une thématique omniprésente dans l'art et la culture visuelle vietnamienne ; pourtant ce sujet n'a jamais fait l'objet d'une étude systématique. Cette étude s'emploie à combler cette lacune en analysant l'évolution des usages, des techniques et de l'iconographie des portraits sous la dynastie Nguyễn (1802 - 1945). Elle débute par la mise en évidence des origines bouđhiques et taoïques des rites et des représentations, avant d'examiner l'absorption de la pratique du portrait par l'éthos confucéen populaire. Les bouleversements socio-politiques qui traversent la période étudiée et exercent une influence décisive sur le portrait sont ainsi explorés tour à tour. La curiosité technologique des Nguyễn mène à l'adoption, certes tardive, de la photographie, rapidement intégrée au culte des ancêtres. Dans le même temps, l'incursion d'une approche occidentale de l'individu mais aussi des beaux-arts, conduit à un renouvellement des modes d'expression utilisés par les auteurs de portraits. Enfin, la conquête coloniale du territoire et l'affaiblissement politique progressif de la cour impériale aboutissent à une multiplication des images de l'empereur, quand jusqu'alors il était interdit de le regarder. Fondée sur l'analyse détaillée d'un corpus de portraits, en tant qu'images et objets, associée à des sources textuelles contemporaines, cette étude s'attache à révéler les différentes fonctions du portrait : cultuel, sentimental, politique. Elle dévoile en particulier le rapport singulier qui unit le portrait à la mort, et comment il exprime et outille une forme de négation de l'absence. Finalement, elle explore la question complexe de la ressemblance, unité plastique des portraits entre eux et attente d'une conformité de l'image au modèlePortraits are ubiquitous in Vietnamese art and visual culture, yet the subject has never been extensively studied. This study aims at addressing this gap by analysing the evolution of the usage, techniques, and iconography of portraits during the Nguyễn dynasty (1802-1945). It begins by bringing to light the Buddhist and Taoist origins of rites and representations, before examining the absorption of the portrait practice by a popular Confucian ethos. The socio-political upheavals marking the studied period, and decisively influencing portraits, are sequentially explored. The technological curiosity of the Nguyễn dynasty leads to the adoption of photography, quickly included in the ancestral worship system. At the same time, the incursion of a Western approach of the sense of individuality as well as of the fine-arts practice, results in a renewal of the modes of expression used by the authors of portraits. Finally, the colonial conquest of the territory and the progressive weakening of the imperial court culminate with the multiplication of portraits of the emperor, whereas heretofore it was strictly forbidden to look at him. Based upon a detailed analysis of a large portrait corpus, both as image and object, combined with contemporary textual sources, this study seeks to reveal the various functions of portraits: cultual, sentimental, political. Notably, it uncovers the special bond between portraits and death, and how portraits translate and equip a certain negation of the absence. Finally, the study explores the complex question of resemblance; the unity of style between portraits and the expectation of a conformity between the image and the model
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Tseng, Ping-Chung, and 曾秉中. "Restoration and Conservation of Early Taiwanese Folk Portraits - Two cases studies of Eastern Gouache Painting of Ancestor Portraits." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/52696302937858377391.
Повний текст джерелаАнотація:
碩士國立臺南藝術大學
古物維護研究所
97
For Taiwanese people, it is a traditional virtue to commemorate their ancestors. In the period with no photography, portraying ancestors and hanging these portraits in special time had become a major method to remember them. Ancestor portraits have been viewed unique folk artwork; however, most of them are seriously damaged and slowly faded away due to lack of the concept of conservation and flaws in mounting and restoration. According to the above situation, there were two pieces of folk ancestor portraits chosen for this dissertation. Firstly, it is focused on cultural meanings such as the origin and development of portraits, portrait technique, forms of ancestor portraits and so on. In addition, two pieces of artwork were restored based on scientific detection, appropriate concepts and skills of conservation, and after that, the problems of conservation of these portraits were discussed. Moreover, different forms of mounting, such as frame and hanging scroll , lead to differential damage situation. There are different consideration of restoring artwork between the folk and museums. For this reason, this dissertation formulates suitable suggestions and improved methods for restoration according to damaged situation in these two portraits, and it is also taken restored uniqueness of some folk cultural relics into account. Finally, a series of appropriate restoration and conservation methods for folk ancestor portraits are concluded.
Книги з теми "Ancestor portrait"
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Bynum, Edward Bruce. Legacy: Portrait of an ancestor. Amherst, MA: Modern Memoirs Pub., 1999.
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Martindale, Andrew. Heroes, ancestors, relatives and the birth of the portrait. Maarssen: G. Schwartz, 1988.
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Baker, Irene Parrish. A portrait of our ancestors: Jury, Troxell, Shisler & Parrish. [Indianapolis, Ind.?]: I.P. Baker, 1986.
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Taylor, Maureen Alice. Uncovering your ancestry through family photographs. Cincinnati, Ohio: Betterway Books, 2000.
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Roguski, Agnieszka. Orly Zailer: Ahnen : neue Porträts = ancestors : new portraits. Innsbruck: BTV Stadtforum, 2019.
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Keremitsis, Eileen. Portraits of our patriots: Stories of American Revolutionary War ancestors. San Francisco, Calif: AGS BookWorks, 2011.
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missing], [name. Images of ancestors. Aarhus: Aarhus University Press, 2000.
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Schaaf, Kenneth A. The life of Gerrit de Nooy: His Dutch ancestors and American descendants : a family portrait. Dunkirk, Md: Lord's Favour, 1997.
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Pejčochová, Michaela. Pohledy z a do jiného světa: Čínské portréty předků ze sbírky Národní galerie v Praze = Glimpses from and into another world : Chinese ancestor portraits from the collection of the National Gallery in Prague. Praha: Národní Galerie v Praze, 2015.
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Armijo, Andrés. Becoming a part of my history: Through images and stories of my ancestors. Los Ranchos, NM: LPD Press, 2010.
Знайти повний текст джерелаЧастини книг з теми "Ancestor portrait"
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Prizzon, Tommaso. "Arte, storia e prestigio. Per un’introduzione alla ‘ritrattistica genealogica’: la serie Guadagni di Firenze." In Studi e saggi, 31–58. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.04.
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The paper describes the interesting and widespread phenomenon of genealogic portraiture in Florence by analyzing the case of the Guadagni family and its series of portraits. The series was commissioned during the mid-Seventeenth century by senator Tommaso di Francesco and it was intended to decorate the family House behind the Nunziata thanks to the contributions of many artists. Both in terms of quantity and artistic quality, the Guadagni portrait series represents a precious testimony of this specific portraiture genre, which started during the middle of the sixteenth century and reached its climax during the following century. This genre saw its decline in the 1700s, when the aristocratic ancient families lost their importance, and their illustrious ancestors’ portraits became simple relics of a remote past.
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"Ancestors Still Talk." In Ancestral Portraits, 65–73. University of Calgary Press, 2002. http://dx.doi.org/10.1515/9781552382820-021.
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Flower, Harriet I. "Ancestors at the Elections: Ancestral Portraits and Magisterial Office." In Ancestor Masks and Aristocratic Power in Roman Culture, 60–90. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198150183.003.0004.
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Abstract THE Roman political caste was a nobility of office which relied on repeated electoral successes to maintain its position of leadership. Yet nobilitas as a status was often described in terms of imagines. What then was the connection between ancestor masks and the elections, both characteristic features which defined Rome’s political elite? Meanwhile, the imagines were complemented by many other images of ancestors in various media to be found all over the city. Outside the home and tomb, both private domains in the eyes of the law, ancestral iconography appeared in public spaces in the city as a background to the life of all its citizens. These images rein-forced the effect of displays in the atria of the political families.
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Williams, Carol J. "Indigenous Uses of Photography." In Framing the West, 138–69. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195146301.003.0006.
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Abstract Despite assertions that Native Americans were irrevocably tied to a deep premodern state, evidence shows that they did participate in modernization. In their rapid transformation from hunter-gatherers to maritime traders and, later, to industrial and entrepreneurial laborers in the settlers’ resource-based economy, Native Americans progressively adapted to modernity in two characteristic ways: they embraced introduced technologies and they began to strategically acquire manufactured goods. As early as 1862, northwest coastal peoples demonstrated curiosity in the technology of the camera, collecting photographs for private contemplation. Moreover, as coastal people adapted to the Euro-American settlement, their use of photography expanded. By 1890, Native individuals and families began to frequent commercial portrait studios in unprecedented numbers, and individual portraits were increasingly integrated into the ceremonial commemoration of ancestors.
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"Re-curating the Portrait Gallery of International Law." In Portraits of Women in International Law, edited by Immi Tallgren, 3—C1N215. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198868453.003.0001.
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Abstract This chapter introduces the objectives of the volume and its experimental setting—a new exhibition in an imaginary ‘Portrait Gallery of International Law’, a metaphor for international law’s collective self-portrait with ancestors. It presents the interrogations: whose lives, which accomplishments, and what kind of events continue to matter in international law (histories), are worthy of attention, and why? Which histories remain absent, whose portraits are not commissioned, and why? Discussing how international law histories have addressed (or not) ‘women’ and their contributions, the chapter introduces the genres of women’s feminist and gender histories and their delayed emergence in international law. It addresses ‘portraiture’ both as a visual culture and in the broader discourses of historiographical, biographical, and literary creation and representation. It highlights the volume’s key query: why do histories of international law continue to tacitly reproduce the gendered, racialized, and classed discriminations? Why is so little attention of researchers accorded to social contexts and consequences of international lawyering? Could the silences and professed ‘epistemological impossibilities’ serve in obscuring uncomfortable continuities and complicities? Instead of a mere issue of research methodology or approach, the invisibility of women (and others marginalized) is also a consequence of the continuously restricted access to power and knowledge, the inherited capital of international law and its knowledge production. The chapter describes the volume’s ‘making of’ and tentatively situates that process as an alternative, multidisciplinary, pluralist but intimately situated authorship of critical history. It concludes with a floorplan of the exhibition, the portraits, and their contributors.
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"The Saint as Ancestor in some Sufi and Ismaili Communities of the Sindhi Area." In Family Portraits with Saints, 327–41. De Gruyter, 2013. http://dx.doi.org/10.1515/9783112208991-011.
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Jettot, Stéphane. "A Format for Every Use." In Selling Ancestry, 23—C1P88. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192865960.003.0002.
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Abstract In the field of the history of books, the first chapter is dedicated to a raw typology based on three main formats: pocket-size, octavo, and quarto-to-folio. Through this clear-cut categorization, we contend that the different formats did correspond to different social needs: some compilations could be read in passing, such as pocketbooks for aspiring gentlemen. Discarding family trees, they provided synoptic lists of titled individuals with a brief account of their public offices and dignities, ancestors, and descent. Directories in octavo were advertised as reserved to a narrower public: titled families and their descendants who would benefit from more detailed narratives of their past. They were published in particular during political crisis and adopted a rather consensual and inclusive tone. Finally, we consider the gilded luxury volumes in quarto and folio for the happy few collectors. Conceived as family monuments, they belonged to the wider material culture surrounding ancestry (carriages, libraries, portraits, furniture).
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"Arthur Hesketh Groom (1846–1918): Emblematic Edwardian, Compulsive Clubman, Accidental Ancestor." In Britain and Japan: Biographical Portraits, Vol. VII, 595–605. Global Oriental, 2010. http://dx.doi.org/10.1163/ej.9781906876265.i-666.329.
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Turner, Grace. "Introduction." In Honoring Ancestors in Sacred Space. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9781683400202.003.0001.
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The theoretical framework for this work is based on W.E.B. DuBois’s concept of “double consciousness” outlined in The Souls of Black Folk, 1903. This concept helps portray the transition from African-derived burial treatments in this urban cemetery for blacks to grave treatments that were less distinct from those in the cemeteries for whites. Archaeologically evidence of these grave treatments can be seen through time. Though most archaeological research in urban contexts is focused on cemeteries, a significant difference in this case is the focus on the cultural landscape within the cemetery space. The author’s familiarity with Bahamian historical and cultural heritage enables her to make a case for identifying an African-derived cemetery landscape. This urban cemetery site is an illustration of the variation in experiences within the African diaspora in the Americas.
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Flower, Harriet I. "Introduction." In Ancestor Masks and Aristocratic Power in Roman Culture, 1–15. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198150183.003.0001.
Повний текст джерелаАнотація:
Abstract IT is now around sixty years since a book was dedicated largely or wholly to Roman ancestor masks (imagines) with the result that the present re-examination is not in need of a lengthy justification. Since then new evidence has come to light and critical methods have changed considerably. Much has been written about the imagines more recently, but either in brief or as part of larger studies with their own separate concerns. Most attention has come from archaeologists and students of Roman portraiture. However, the evidence we have for the imagines is not physical, and their relationship with Roman portraits in other media remains obscure and disputed. Historians, meanwhile, are in general agreement that the imagines were indeed a vital part of Roman culture. Usually this fact is simply noted without further elaboration. The present study aims to explore why and how the imagines were important in Roman society. I have tried to be as comprehensive as possible in treating the development of the imagines from their first mention in Plautus to their last in Boethius over 700 years later.
Тези доповідей конференцій з теми "Ancestor portrait"
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Huo, D., H. Hu, SK Rhie, ER Gamazon, AD Cherniack, J. Liu, TF Yoshimatsu, et al. "Abstract P1-05-11: Comprehensive comparison of breast cancer molecular portraits by African and European ancestry in the cancer genome atlas." In Abstracts: 2016 San Antonio Breast Cancer Symposium; December 6-10, 2016; San Antonio, Texas. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.sabcs16-p1-05-11.
Повний текст джерела
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Kirichenko, Anastasiia D. "THE BIOGRAPHY OF BAO SI, THE SPOUSE OF THE KING YOU OF ZHOU, IN THE CONTEXT OF NIEBIZHUAN, A PART OF LIENUZHUAN BY LIU XIANG." In 32nd International Congress on Source Studies and Historiography of Asia and Africa “Russia and the East. Сommemorating 300th anniversary of St. Petersburg State University, 218–32. St. Petersburg State University, 2024. http://dx.doi.org/10.21638/11701/9785288064135.18.
Повний текст джерелаАнотація:
In the article there is a study of the biography of Bao Si 褒姒, King You of Zhou’s 周幽 王 second wife, in the context of Niebizhuan 孽嬖傳, — the volume of biographical corpus Lienüzhuan 列女傳 by the Han scholar and litterateur Liu Xiang 劉向. The author set himself the task of identifying phrases that characterise Bao Si, comparing them with records about other depraved favourites, and finding out which female images of Niebizhuan are closest to the image of Bao Si and which biographies are the most textually close to the biographical note about her. A comparative analysis revealed that among the biographies of “favourites bearing calamities”, the note about Bao Si is the only one containing a fantastic element of the narrative. We suppose that by rewriting the story about the dragon ancestors of Bao Si, Liu Xiang rather expressed respect for the authority of the historical monuments he used, but did not need this story to support his argument against King You of Zhou’s favourite. Removing the backstory of Bao Si’s birth would not have affected the persuasiveness of the story, for the portrait of Bao Si already contains typical (according to Liu Xiang) features of a destroyer of state. Secondly, in Niebizhuan, the biography of Bao Si most of all echoes the biographies of Mo Xi and Da Ji. In these three biographies Liu Xiang in similar terms outlined the relationship between sovereigns and their favourites, enriching the text with such and psychological and everyday details that we do not find in the sources that Liu Xiang used and that have survived to the present day. By adding these details, the Han scholar and litterateur not only gave coherence and completeness to his story, he also, what is even more important, achieved the effect of mutual reinforcement of the impression made by separate biographies.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
Повний текст джерелаАнотація:
In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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Hill, Rodrigo, and Tom Roa. "Place-making: Wānanga based photographic approaches." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.
Повний текст джерелаАнотація:
Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.