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1
Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.
Повний текст джерелаАнотація:
Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformateurs en matière d’intelligibilité du texte et l’esthétique de la contre-réformeThe development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics
2
Benzi, Utzima. "Francesco Panigarola : théorie et pratique de l'éloquence sacrée à l'âge de la Contre-Réforme." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10020.
Повний текст джерелаАнотація:
Cette thèse porte sur l’éloquence sacrée telle que le prédicateur franciscain Francesco Panigarola, l’une des figures majeures de l’art oratoire post-tridentin, la conçut en tant que rhéteur et la pratiqua du haut de la chaire. De son œuvre nous avons retenu les textes en italien : d’une part les écrits polémiques, les traités rhétoriques et pédagogiques, où s’exprime la réflexion de Panigarola sur le statut et les finalités de l’éloquence sacrée, d’autre part ceux qui attestent des procédés oratoires mis en œuvre dans l’exercice de la prédication. L’étude associe à la fois une approche chronologique, centrée sur le profil biographique, et une approche systématique concernant quelques grandes questions rhétoriques et stylistiques. L’objectif est de restituer l’orateur franciscain à la culture de son temps et de mettre en lumière certaines constantes de son style oratoire asian, notamment le statut privilégié accordé aux ressources de l’imagination visuelle. La première partie suit les étapes de la formation humaniste et religieuse de Panigarola ; la présentation de quelques documents inédits permet de jeter une lumière nouvelle sur ses activités de controversiste et de diplomate. La seconde partie analyse la théorie du discours oratoire sacré qu’il développe dans ses traités rhétoriques à l’usage des prédicateurs : Il Predicatore, les Regole per far la memoria locale et le Modo di comporre una predica. L’étude vise à mettre en évidence l’originalité des initiatives stylistiques et des procédés rythmiques, lexicaux et morphosyntaxiques de Panigarola, qui marquèrent l’entrée de la prédication dans le domaine de la littérature italienne. La dernière partie est consacrée à la définition de la doctrine panigarolienne de l’image ainsi qu’à la description des stratégies visuelles et auditives déployées dans ses sermons. Comment le franciscain réussissait-il à « faire voir », par les mots et à travers eux, les concepts qu’il voulait transmettre ? Quelles étaient les ressources du style qu’il déployait pour rendre son discours « visualisable » ? Ces questions ont été examinées du point de vue de l’enargeia « visuelle » et « sonore », et des procédés techniques dont elles sont le fruitOur theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth
3
Khany, Minoo. "Les représentations de la guerre dans la peinture iranienne après 1981." Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0006.
Повний текст джерелаАнотація:
La problématique de ce travail consiste à s’interroger sur la définition de la peinture de guerre et sur son devenir après la guerre, sur l’histoire de la peinture de guerre en Iran, sur l’interprétation de la guerre par les artistes, sur les éventuelles commandes. Comment cette peinture a-t-elle commencé en Iran ? Quel est le point de vue des peintres iraniens sur la guerre et sur les peintures de guerre ? Ont-ils critiqué la guerre dans leurs peintures ? Y a-t-il des foyers pour la création de ce type d'œuvres en Iran qui ont commandé aux peintres et si oui à quel but ? Ce travail comporte quatre parties, sans compter l’introduction et la conclusion. La première partie est un regard sociologique sur la révolution islamique et sur la guerre Iran-Irak. Les raisons pour las quelles cette guerre est devenue un phénomène social, ainsi que les raisons par lesquelles les artistes iraniens ont employés cette guerre dans leurs œuvres. Ayant un regard sur la peinture contemporaine de l’Iran, l’axe principal de cette présente thèse est la présentation des onze peintres connus comme les peintres de la guerre, et l’analyse 112 œuvres représentant la guerre et ses significations. Enfin, la troisième partie concerne l’analyser les peintures par l’aspect esthétique et sociologiqueThe definition of war painting and its future after the war, the history of war painting in Iran, the interpretation of the war by the artists are considered the complications of this work. How did war painting start in Iran ? What is the point of view of Iranian painters on the war and war painting? Have they criticized the war in their paintings ? When it comes to creation of such works in Iran, who ordered the painters and if so to what purpose? Are these works exhibited in museums, galleries, foreign countries or elsewhere yet ? This work consists of three parts, besides introduction and conclusion. The first part is a sociological perspective on the war in Iran. The main focus of the present thesis is the presentation of painters known as the war / Sacred Defense painters, and analysis of their work by the war and its meanings. In this section, we presented eleven painters and analyzed 112 paintings, from which some works are from four women painters. Finally, we presented the artistic centers producing the art of sacred defense. And we studied the topics in the works, the symbols used, and the styles discussed. we studied the sociological works representing the sacred defense and its support for artists with the social and political movements, the influence of the painting of the sacred defense and social issues, sacred defense painting "art for art" or "art for the people", etc
4
Rincon, Caires Daniel. "Maleáveis mensageiros : das Igrejas aos Museus, de santeiros a artistas, de santos a obras de arte – o caso Veiga Valle." Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0105.
Повний текст джерелаАнотація:
L'objectif de cette recherche est de comprendre le processus d'incorporation de l'artisan de Goiás, José Joaquim da Veiga Valle (1806-1874), ainsi que la production qui lui est attribuée, dans l'histoire de l'art, du patrimoine et des dispositifs muséaux et l’univers de collection. Ce processus s'observe dans ses aspects conceptuels – la cartographie et l'analyse de la proposition de nouvelles significations sur le personnage et la production qui lui est attribuée – et dans ses développements concrets – le changement du statut initial des objets et la création de nouvelles formes de relations avec eux, qui se traduisent souvent par des expropriations et des déplacements, modifiant leurs trajectoires et créant des détours vers leurs origines. On suppose que les objets attribués à Veiga Valle – images de saints catholiques sculptés dans le bois et incarnés avec des pigments – ancrent des significations socialement construites. Cette construction de sens a une histoire et c’est ce que nous voulons observer, comprendre, interpréter et raconter. Dans cette tâche, des moments spécifiques ont été choisis dans lesquels de nouvelles propositions d'attribution de significations aux objets sont perçues, des moments où des conflits surgissent entre des individus ou des groupes sociaux qui entendent voir en eux des choses différentes et souvent antagonistesThe objective of this research is to understand the process of incorporation of the artisan from Goiás, José Joaquim da Veiga Valle (1806-1874), as well as the production attributed to him, into the history of art, heritage and museum devices and the universe of collecting. This process is observed in its conceptual aspects – the mapping and analysis of the proposition of new meanings about the character and the production attributed to it – and in its concrete developments – the change in the initial status of objects and the creation of new forms of relationships with them, which often results in expropriations and displacements, altering their trajectories and creating detours in their origins. It is assumed that the objects attributed to Veiga Valle – images of Catholic saints carved in wood and covered with pigments – anchor meanings that are socially constructed. This construction of meanings has a history and that is what we want to observe, understand, interpret and narrate. In this task, specific moments were chosen in which new proposals for attributing meanings to objects are perceived, moments in which disputes arise between individuals or social groups who intend to see different and often antagonistic things in them
O objetivo dessa pesquisa é compreender o processo de incorporação do artífice goiano José Joaquim da Veiga Valle (1806-1874), bem como da produção atribuída a ele, à história da arte, aos dispositivos patrimoniais e museológicos e ao universo do colecionismo. Esse processo é observado em seus aspectos conceituais – o mapeamento e análise da proposição de novos significados sobre a personagem e sobre a produção atribuída a ela – e em seus desdobramentos concretos – a alteração do estatuto inicial dos objetos e a criação de novas formas de relacionamento com eles, o que resulta muitas vezes em desapropriações e deslocamentos, alterando suas trajetórias e imprimindo desvios de rota em suas proveniências. Parte-se do pressuposto de que os objetos atribuídos a Veiga Valle – imagens de santos católicos esculpidas em madeira e encarnadas com pigmentos – ancoram significados que são socialmente construídos. Essa construção de significados tem uma história e é ela se deseja observar, compreender, interpretar e narrar. Nessa tarefa, foram eleitos momentos específicos em que se percebem novas propostas de atribuição de significados aos objetos, momentos em que surgem disputas entre indivíduos ou grupos sociais que pretendem enxergar neles coisas diferentes e muitas vezes antagônicas
5
Caussé, Françoise. "Les artistes, l'art et la religion en France : les débats suscités par la revue "L' art sacré" entre 1945 et 1954." Bordeaux 3, 1999. http://www.theses.fr/1999BOR30037.
Повний текст джерелаАнотація:
La these retrace a propos de l'eglise catholique de france une etape importante de la reflexion sur les liens entre l'art d'une epoque et l'expression de la foi religieuse, cette reflexion nee au xixe siecle et qui avait recu de premieres reponses durant l'entre-deuxguerres. Trouva apres la seconde guerre une veritable audience mediatique. Puisant a de nombreuses sources inedites la these retracel'histoire de la revue l'art sacre et de ses deux directeurs, les peres m-a. Couturier et p-r. Regamey, o. P. Elle precise les donnees relatives aux edifices qui provoquerent les debats, principalement: l'eglise d'assy (hte savoie), decoree par des artistes celebres (rouault, leger, bonnard. . . ), la chapelle de vence, concue et decoree par matisse, l'eglise du sacre-coeur a audincourt, decoree par bazaine et leger. Elle presente la biographie de nombreuses personnes et decrit les actions menees dans le diocese de besancon. La these met dans une perspective historique correcte les positions theoriques de la revue. Le parti fondamental des directeurs de l'art sacre etait que l'art religieux revelait l'etat de la spiritualite de son eglise. Aussi s'opposant a l'esprit de "saint-sulpice" la revue, prenant en compte tous les aspects de l'eglise (programme architectural, decor mais aussi culte) defendit le principe de constructions modestes mais dignes, portant temoignage par leur qualite artistique et leur modernite. Pour etre veritablement religieux en effet, l'art devait etre "vivant", plonger dans la vie artistique de son temps. La these analyse les debats majeurs et leur posterite, les principaux themes etant les relations entre l'eglise institutionnelle et la creation contemporaine; le role du decor et la place de l'art non-figuratif dans l'eglise; la fonction sociale de l'art. La question traitee recoupe d'autres champs d'etudes, notamment l'histoire religieuse de la societe francaise. Nombreuses annexes, documentation, chronologies, index.
6
Johnson, Brian Todd. "Sacred conversations viewing liturgy through art /." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Повний текст джерела
7
Bernasconi, Gina. "Art and religious education: Seeking meaning in the sacred seriousness of art." Thesis, Australian Catholic University, 2006. https://acuresearchbank.acu.edu.au/download/4866d8aeffa87aa911cd9ec0550330f1da5a5413861095d66dc5812ac891d9b1/3609586/Bernasconi_2006_Art_and_religious_education_seeking_meaning_in.pdf.
Повний текст джерелаАнотація:
In relation to the post-compulsory religious education program of a Catholic secondary college for boys, this research study set out to ascertain the role of art as a medium for the self-revelation of God in the linking of aesthetic and religious experience. In other words, this research study proposed to provide a group of students with a space and opportunity for a ‘calling to attend’ experience of God; that is, an experience that was compelling. The theoretical framework called on two types of concepts: first, those related to the theological investigation of revelation and its connection with the aesthetic and religious experience; and secondly, those developed from current educational research and research into Religious Education paradigms. The development of this research study therefore: established the context within which the study was situated; discussed a theological framework from Hans Urs von Balthasar and its links with this research study; examined the theory of Bernard Lonergan that art was a carrier of meaning for religious experience; discussed the role of revelation, aesthetic and religious experience and the religious imagination located within the ‘graced nature’ concept of Catholic theology; and sought to determine the contribution such a learning experience could make to the religious development of post-compulsory students in a boys’ senior secondary college. This study operated within a constructivist paradigm using case study and qualitative research methods. A focus group provided the research instrument for data gathering and included: participant observation; field notes; focus group discussions; and transcript analysis of the taped conversations of participants. The findings of this research study provided direction for further research and practice in post-compulsory religious education classroom program.
8
Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.
Повний текст джерелаАнотація:
Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.Department of Art
9
Kaha, Myra. "The vessel and the sacred." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4791.
Повний текст джерелаАнотація:
Thesis (M.F.A.)--West Virginia University, 2006.Title from document title page. Document formatted into pages; contains v, 15 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 13).
10
Benoist, Jacques. ""Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)." Paris 4, 1991. http://www.theses.fr/1990PA040155.
Повний текст джерелаАнотація:
La basilique du Sacré-Cœur a toujours été l'objet de nombreuses contestations. Pour les comprendre, il faut demander à ses promoteurs quelles étaient leurs intentions. Traumatisés par les évènements de 1870 tant en France qu'à Rome, ils promettent en décembre 1870-janvier 1871 de construire une église en l'honneur du cœur du christ par souscription nationale pour obtenir de dieu le salut de la France et la délivrance du souverain pontife. Leur initiative est déclarée d'utilité publique par l'assemblée nationale. Paul Abadie devient leur architecte. La lente édification du monument s'accompagne de la création d'un pèlerinage ou une adoration perpétuelle s'établit rapidement. La décoration récapitule dans la pierre la vision du monde des constructeurs. Les contestations et les contestataires de l'entreprise, d'hier et d'aujourd'hui, retiennent longuement l'attention, mais sont contestés à leur tourThe basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves
11
Freitas, Maria Marta van Langendonck Teixeira de. "A pintura religiosa de Fulvio Pennacchi (1930-1945)." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284537.
Повний текст джерелаАнотація:
Orientador: Jens Michael BaumgartenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T13:03:35Z (GMT). No. of bitstreams: 1 Freitas_MariaMartavanLangendonckTeixeirade_M.pdf: 5958095 bytes, checksum: 16e89c0e333446608616f3bfda4a5750 (MD5) Previous issue date: 2013
Resumo: O presente trabalho tem por objetivo analisar a pintura religiosa de Fulvio Pennacchi realizada entre os anos 1930 e 1945. Primeiramente, estudamos as pinturas religiosas propriamente ditas, realizando uma análise temática e formal. Diante desta análise, examinamos a inserção destas pinturas religiosas no contexto histórico, social e artístico da cidade de São Paulo à época de sua produção. O trabalho preocupa-se em aprofundar três questões principais: os temas religiosos abordados por Pennacchi; a influência do Trecento e do Quattrocento nas pinturas religiosas de Pennacchi; a presença das pinturas religiosas de Pennacchi nos anos 1930-1945 e no ambiente artístico paulistano desta época
Abstract: The purpose of the present work is to analyze the religious painting of Fulvio Pennacchi produced between the years 1930 and 1945. First, we analyze the religious paintings themselves, regarding their theme and form. Given this analysis, we examine the presence of these religious paintings in the historical, social and artistic context of the city of São Paulo at the time of their production. The work is concerned with three main issues: the religious themes addressed by Pennacchi; the influence of the Trecento and Quattrocento in Pennacchi's religious paintings; the presence of Pennacchi's religious paintings in the years 1930-1945 and in São Paulo's artistic context of these years
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Mestra em Artes Visuais
12
Genot, Anne. "De Marcelle Gallois à Mère Geneviève : concilier et affirmer deux vocations au XXe siècle." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP096.
Повний текст джерелаАнотація:
La personnalité atypique de Mère Geneviève, unissant humour, art et religion, intrigue. Née Marcelle Gallois en 1888, elle effectue une carrière éclair dans le dessin satirique, reçoit le nom de Geneviève en 1917 à son entrée au monastère de Saint-Louis du Temple à Paris et réussit le tour de force de concilier deux vocations avant de s'éteindre en 1962.Un premier ensemble d'études sur cette artiste est paru parallèlement aux expositions qui se sont déroulées en 2004 au musée des Beaux-Arts de Rouen, en 2008 au musée de Port-Royal des Champs et à la suite d'un colloque en 2012. Cette thèse s'appuie sur l'inventaire complet du corpus des œuvres débuté en 2014, sur une correspondance qui s'est étoffée grâce à l'apport de nouveaux fonds et sur des documents inédits. De plus, un important effort de contextualisation a permis de resituer l'œuvre dans l'histoire de l'art, en mettant en relief les liens avec les différents mouvements profanes et religieux de son époque, et dans celle de la réforme de la liturgie. Il a valorisé aussi l'importance d'un réseau d'aide féminin. La construction et l'évolution du style de Geneviève Gallois, qui n'ont jamais été qu'évoqués, est analysée à travers son choix constant de la ligne et de la figuration reliée à l'Incarnation, qui trouve sa plénitude dans ses images mariales ou ses représentations du Christ. L'expression de la souffrance est une thématique qui reste essentielle dans son œuvre. Elle est complétée par celle de la miséricorde dans un ensemble touffu de Fils prodigues, de syndicats des pardonnés, de tentations de la moniale, etc. L'aventure de la construction de l'abbaye à Limon dans les années 1950, ouvre un chemin vers un renouveau : sortie de guerre, nouvelle vie. La religieuse artiste déploie alors une énergie, une joie qui va jaillir en couleur et mouvement dans les vitraux mais aussi dans le regard malicieux de certains dessins. Elle éclate dans deux vitraux, “Ludens coram deo” qui est l'incarnation des idées de R. Guardini sur la liturgie, et “In paradisum”, une figuration extraordinaire, très libre, de l'arrivée de la moniale au Paradis. La religieuse obscure, triste qui peinait à trouver sa place, est devenue une artiste reconnue par sa communauté. Elle entre dans une phase de pacification malgré l'épreuve de la maladie, élaborant des formes archétypales, une palette iconographique des attitudes de la prière, s'interrogeant sur la médiocrité et la sainteté au travers de ses dessins, sur le combat spirituel, par le biais du Cantique des cantiques. Son style fortement inspiré, entre autres, par ses débuts dans la caricature mais aussi l'art médiéval, évolue alors vers une grande liberté, une épure, tout en restant expressionniste. Il est, à l'apogée de son art, expression de l'inexprimable. Cette recherche se situe dans le cadre de la redécouverte de l'art religieux du XXe siècle où Mère Geneviève a sa placeThe atypical personality of Mother Geneviève is intriguing, bringing together humor, art and religion. Born Marcelle Gallois in 1888, she had a whirlwind career as a satirical cartoonist, received the name of Geneviève in 1917, upon her entry into the monastery of Saint-Louis du Temple in Paris, and she successfully achieved the feat of reconciling her two vocations before dying in 1962.A first collection of studies on this artist was published in parallel with the exhibitions held in 2004 at the Musée des Beaux-Arts in Rouen, in 2008 at the Musée de Port-Royal des Champs and following a symposium in 2012. The inventory of her corpus, begun in 2014, revealed a prolix work, knowledge of her correspondence has expanded, and new unpublished documents have been discovered. In addition, a significant contextualization effort made it possible to situate the work in the history of art, highlighting the links with the different secular and religious movements of its time, and in that of the reform of the liturgy. It also highlighted the importance of a female support network.The construction and evolution of Genevieve Gallois‘style, which have just only been evoked, is analyzed here through her constant use of line and figuration linked to the Incarnation, which culminates in her Marian images and her representations of Christ.The expression of suffering is an essential theme in her work. It is complemented by that of mercy in a complex group of depictions of the Prodigal Son, the Union of the Forgiven Ones, the Temptations of the Nun, etc.The adventure of building the abbey in Limon in the 1950s marked a path towards renewal: ending of war, building of new life. The religious artist then exhibited renewed energy and joy, which burst forth in color and movement in her stained-glass windows but also in the mischievous look of some of her drawings. This is specifically eloquent in two stained glass windows, “Ludens coram deo” which embodies R. Guardini's ideas on the liturgy, and “In paradisum”, a unique, freely expressed representation of the nun's arrival in Paradise. The once obscure sad nun, who struggled to find her place, became a recognized artist in her community. Despite the ordeal of illness, she entered a phase of pacification, developing archetypal forms, an iconographic palette of prayer attitudes, questioning mediocrity and holiness through her drawings, about the spiritual combat, exploiting the Song of Songs.Her style, strongly inspired, among other things, by his beginnings in caricature but also by medieval art, later evolved towards greater freedom and purity while retaining its expressionist nature. It is, at the height of her art, an expression of the inexpressible.This research contributes to the rediscovery of 20th century religious art, where Mother Geneviève holds a significant place
13
Jones, Charlotte. ""THIS SACRED LAND IS OUR SHIELD": Deploying the Sacred in Indigenous Art and Activism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1206.
Повний текст джерелаАнотація:
My art historical and sociological thesis will take Cheyenne-Arapaho artist Edgar Heap of Birds’ Defend Sacred Mountains print series as the point of departure for examining the interventions of Native artists and grassroots activists in their decolonizing campaigns. Heap of Birds’ exhibition of sixty-four mono-prints, to be exhibited at Pitzer College Art Galleries in January 2018, calls attention to the ongoing injustices committed against four indigenous sacred sites across the United States: Bear Butte, South Dakota; Bear’s Lodge, Wyoming; San Francisco Peaks, Arizona; and Mauna Kea, Hawaii. Heap of Birds’ monoprints address and allude to indigenous struggles to undermine insensitive development, non-Native encroachment, and environmental despoliation on their sacred mountains. Consequently, one chapter will pay special focus to the case studies of contemporary legal and social battles occurring at these sites to counter land dispossession and reinforce tribal sovereignty. How tribal leaders and grassroots activists employ claims to these lands based on their sacred value and/or based on treaty rights will be explored on a case-to-case basis and guided by the theories of decolonization, survivance, and tribal sovereignty. Two other chapters will address Heap of Birds as a decolonial actor, one grounding his career in the theories of spatial politics and historical remembrance explored by other American Indian Movement era (AIM) indigenous artists such as George Longfish, Kay WalkingStick, Rebecca Belmore, and Demian DinéYazhi´; the second will consider the implications of Defend Sacred Mountains in relation to his wider oeuvre. In highlighting both grassroots and artistic responses to indigenous claims to these four sacred sites, this thesis hopes to explore the concrete and diverse interventions made in decolonial campaigns to reclaim tribal sovereignty and support cultural survivance.
14
Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00742988.
Повний текст джерелаАнотація:
L'Art a toujours consacré une grande part à l'image du féminin. Que cela soit dans l'iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d'ambivalence. La femme et l'image ont en commun de susciter méfiance et fascination. C'est au travers de l'étude approfondie de quelques figures clefs de l'histoire de l'art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l'art actuel. Tantôt dans la foi de l'image, tantôt dans sa condamnation, ainsi se résume l'insoluble combat entre l'humain et le divin. La Femme restera à jamais l'élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d'étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l'œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c'est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d'un idéal sans original. Enfin, nous revenons sur l'art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d'un sacré hors religion. Elles offrent un devenir-pandorien de l'art pour briser à jamais le désormais trop célèbre : " Sois belle et tais toi! "
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Dass, Meera I. "Udayagiri : a sacred hill : its art, architecture and landscape." Thesis, De Montfort University, 2001. http://hdl.handle.net/2086/13256.
Повний текст джерела
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Castellini, Luisa. "L'opera d'arte contemporanea sacra nella cultura dell'occidente cristiano." Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/1193.
Повний текст джерелаАнотація:
La ricerca si muove dalla irriducibile polisemia del sacro. All'interno di questo, l'indagine si sviluppa per verificare le premesse ontologiche necessarie per riconoscerne autenticamente l'essere medium tra l'uomo e il divino. Tale funzione si attua sui medesimi segmenti nei quali si attiva l'opera d'arte intesa come evento della verità. All'interno di una ricognizione del panorama artistico contemporaneo volta a rintracciare la presenza del sacro e nel seguire le premesse e gli sviluppi del mutamento da un regime di ostensione a uno di esposizione, si va chiarendo l'essenza dell'opera d'arte sacra che quindi viene condotta ad analisi nel suo creare uno spazio-tempo specifico, nel suo anelito al divino inteso come possibile e nella sua funzione epifanica.
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Manauté, Benoît. ""Flambe! Illumine! Embrase!" La place de la manufacture de vitrail et mosaïque d'art Mauméjean dans le renouveau des arts industriels franco-espagnols (1862 - 1957)." Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1009/document.
Повний текст джерелаАнотація:
S’appuyant sur la petite structure créée à Pau, en 1862, les Mauméjean, père et fils, réussirent à développer une véritable firme internationale - basée en France (Paris, Hendaye) et en Espagne (Madrid, Barcelone, Saint-Sébastien) - qui, durant près d’un siècle, travailla à l’ornementation d’un nombre considérable d’édifices civils et religieux disséminés dans plus de vingt-cinq pays. Récompensé lors de l’Exposition des Arts Décoratifs et Industriels Modernes de 1925, leur travail fut pourtant, dès les années 1950, décrié, dévalorisé : pour répondre aux critères de la « noble expression artistique » un maître verrier devait nécessairement produire peu, dans une petite structure, avec de petits moyens. L’incroyable quantité de verrières sorties des ateliers Mauméjean contribua à forger le mythe d’une production sérielle, dépourvue de toute valeur esthétique. Malgré de récents apports, les recherches menées dans le domaine du vitrail semblent profondément marquées par cette traditionnelle opposition entre fabrication à grande échelle et artisanat. S’appuyant sur un large catalogue d’œuvres conservées en France, en Espagne ou aux États-Unis, ainsi que sur l’analyse d’un très riche fonds d’atelier, cette étude se propose d’interroger ces modèles de production, tout en réévaluant l’apport artistique d’une manufacture qui, offrant un remarquable exemple de réussite, participa activement au renouveau des arts industriels franco espagnolsThe Mauméjean family, father and sons, managed to develop a real international firm, from the small business they created in Pau, in 1862. For almost a century, this international firm, based in France (Paris and Hendaye) and Spain (Madrid, Barcelona and Saint-Sébastien), worked on the ornamentation of a significant number of both civil and religious edifices, scattered over more than twenty-five countries. Though their work was rewarded during the 1925 Exhibition of Decorative and Modern Industrial Arts, it was also disparaged and depreciated, as early as the 1950’s. Indeed, to meet the criteria of the “noble artistic expression”, a master glazier had to produce small quantities, in a small structure, and with little resources. The incredible quantity of windows realised by the Maumejeans’ workshop contributed to the creation of the myth of a mass production, devoid of aesthetic value. In spite of new contributions, researches made in the field of stained-glass windows seem to be marked by this traditional opposition between mass production and craft production. Relying on a large catalogue of works kept in France, Spain, or even in the USA, as relying on the analysis of a very extensive workshop collection, this study offers to question these models of production, reappraising the new artistic dimension brought by a manufacture which, giving a remarkable example of success, actively took part in the revival of the Franco-Spanish industrial arts
18
Cousineau, François. "Architectonie : espace sacré /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
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West, Katie. "A Space for the Contemplation of a Sacred Subject." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5792.
Повний текст джерелаАнотація:
This paper discusses a Fine Art Master thesis exhibition. The show was on the topic of the Latter-day Saint doctrine of a Mother in Heaven. It contains a project statement detailing the theological meanings and reasons, an overview of the visual elements of the exhibition, and a section contextualizing the exhibition within the art world.
20
Whitehand, Dawn. "Evoking the sacred : the artist as shaman." Thesis, University of Ballarat, 2009. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/64909.
Повний текст джерелаАнотація:
This thesis examines, via a feminist theoretical framework, the systems in existence that permit the ongoing exploitation of the environment; and the appropriateness of ceramics as a medium to reinvigorate dormant insights. I argue that the organic nuances expressed through clay; the earthy, phenomenological and historic ritual connotations of clay; and the tactile textured surfaces and undulating form, allows ceramics to conjure responses within the viewer that reinvigorates a sense of embedment in the Earth.Doctor of Philosophy
21
Nash, Vikki. "Revealing the essence of the sacred." Thesis, School of Education & Arts Federation University Australia, 2013. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/35902.
Повний текст джерелаАнотація:
This research project, ‘Revealing the Essence of the Sacred’, examines the archetypal forms of the dot, cross and the mandorla. Their appearance and meaning are traced back through history and across cultures. The commonalities between the physical act of making imagery using these pared back abstracted forms and the experience, in the maker, of embodied immanence are examined. By extension the research also considers how creating and contemplating artwork can be a curative spiritual practice. I identify how the artwork correlates with, and is informed by, my spiritual practice. The research takes a phenomenological approach and is based on my own subjective experience of bodily sensed knowledge whilst making and viewing the image. Intuitively accessing the source or essence of the subject matter has been a primary motivating factor in the images used in the artwork. This approach is grounded in the innate belief that what has been distilled and purified has great transformative power. Informing this is an alignment with both the Jungian Collective Unconscious and the ancient Indian spiritual system of Tantra. The artworks, rendered within a ritualistic structure and using abstracted form, are an individual expression of the universality of intuitive mark making. A similar connection is established in the practice of contemporary artists who strongly identify with a level of spirituality in their personal livesMaster of Arts
22
Whitson, Robert. "Sacred landscape : An unsettling." Thesis, Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/36547.
Повний текст джерелаАнотація:
"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
23
Whitson, Robert. "Sacred landscape : an unsettling." Mt. Helen, Vic. :, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15639.
Повний текст джерелаАнотація:
"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
24
Khennouf, Nora. "Le sacré dans l'art contemporain en France dans la seconde moitié du XXème siècle." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_khennouf_n.pdf.
Повний текст джерелаАнотація:
Un nombre significatif d'œuvres d'art contemporain ; peintures, vitraux, architecture sont qualifié d'art sacré. Qu'est-ce que le sacré ? Comment sa présence peut-elle être identifiée et quelle est sa fonction ? L'art contemporain en France dans la seconde moitié du XXème siècle doit être considéré dans la perspective de l'Histoire politique et religieuse du continent européen. Par les symboles du patrimoine religieux judéo-chrétiens, les artistes expriment leurs sentiments sur le monde dans lequel ils évoluent. Dénonçant la souffrance, les injustices, l'artiste s'engage comme citoyen du monde en défendant des valeurs humaines universelles. Cette autonomie artistique est accompagnée par la politique de commandes publiques développée dans les années 80 par l'Etat en direction des monuments historiques. Continuant les premières actions dans les années 50 des Pères Couturier et Régamey, les pouvoirs publics en partenariat avec les institutions religieuses permettent à l'artiste de créer des œuvres esthétiques et spirituelles. Espace, matière, forme et couleur donnent naissance à des vitraux ; création transcendantale offerte à un public en quête de sens. L'invisible, l'indicible émergent par une alchimie dépassant l'artisan. Le Corbusier, Mario Botta, l'un à l'église Saint-Pierre à Firminy (Loire), le second à Evry, bâtissent en élevant l'espace cultuel à un lieu spirituel et culturel. Artistes, conservateurs, philosophes, hommes d'églises, enseignants…ont enrichi mes recherches et constituent les sources de ma réflexion. Leurs conceptions ont conforté ma conviction qu'un art sacré reposant sur la sensibilité et l'engagement des artistes s'impose à notre monde contemporainA significant number of works of contemporary art; paintings, stained-glass windows, architecture are called holy art. What is holiness? How can it be identified and what is its function? Contemporary art in France, during the second half of the 20th century, must be considered from the viewpoint of the political and religious history on the European continent. By using Judeo-Christian symbols of the religious inheritance artists express their feelings about the world in which they live. Informing against all sorts of suffering and injustice the artist gets involved as a citizen of the world standing up for universal human values. That artistic autonomy goes together with a policy of public orders developed in the 80s by the government concerning listed buildings. Extending the first actions of Fathers Couturier and Régamey in the 50s, the Central government in partnership with religious institutions allows the artist to create esthetic and spiritual works of art. Space, matter, shape and colour give birth to stained-glass windows: transcendental creation offered to people in search for meaning. What you cannot see or cannot say comes up through alchemy surpassing the craftman. Le Corbusier, Mario Botta, the former in Saint-Pierre's church in Firminy in La Loire department, the latter in Evry construct and raise places of worship up to places of spirituality and culture. Artists, curators, philosophers, churchmen, teachers have enriched my research and account for the sources of my study. Their work strengthens my belief that a sacred art relying on the artist's sensibility and commitment imposes itself on the world today
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Rénéric-Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30016/document.
Повний текст джерелаАнотація:
L’Art a toujours consacré une grande part à l’image du féminin. Que cela soit dans l’iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d’ambivalence. La femme et l’image ont en commun de susciter méfiance et fascination. C’est au travers de l’étude approfondie de quelques figures clefs de l’histoire de l’art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l’art actuel. Tantôt dans la foi de l’image, tantôt dans sa condamnation, ainsi se résume l’insoluble combat entre l’humain et le divin. La Femme restera à jamais l’élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d’étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l’œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c’est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d’un idéal sans original. Enfin, nous revenons sur l’art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d’un sacré hors religion. Elles offrent un devenir-pandorien de l’art pour briser à jamais le désormais trop célèbre : « Sois belle et tais toi! »A large percentage of art has always been devoted to the images of the feminine. In Greco-Roman as well as in Judeo-Christian iconography, these multiple representations are synonymous with confusion and ambivalence. The common link between woman and her image is the ability to arouse distrust and fascination. By means of an in-depth study of some key figures from the history of art, we hereby put forward a post-feminist review of the diverse facets of the feminine, viewed under the sacred/secular dyad. Myths and faiths gave rise to a pagan-Christian hybrid, bringing forth a constant “Eternal Feminine” that is still firmly rooted in contemporary art. It is sometimes the faith of the image, sometimes its condemnation, that encapsulates the unresolvable fight between the human and the divine. Woman will remain forever the obscure element that is associated with appearance and beauty. In the course of our research, we ascertained that woman and painting are in perfect harmony; they are inseparable because iconoclasm and misogyny often go hand in hand. Step by step, the body will replaces the canvas and the make-up, the painting of transgender artists. In queer parodies between exhibition and shamanism, they reinvent their transformation into the feminine. The surface of the work becomes a mirror that reflects this Other, the alter ego, so longed for. Feminist thinking is set in motion through the revolutions of genders. Artists of the 20th and 21st centuries offer us a vision of an ideal without an original, a new Pygmalion or Narcissus, somewhere between masquerade and melancholy. Finally, we return to the art of the women. Divided between violence, humour and charis, their methods are often borderline, in their quest for the sacred that is beyond religion. They offer to evolve into “pandorien” art to shatter for ever the henceforth overly famous idea: «be beautiful and remain silent! »
26
Woods, Linda Del. "Seven sacred spaces : an intertextual investigation." Thesis, Queensland University of Technology, 2002.
Знайти повний текст джерелаАнотація:
This exegesis is the intertextual investigation of the work, Seven Sacred Spaces. It is a multilayered text documenting the process that occurred as both the work and the artist evolved and the dialogue that transpired between
the theory, the work and the artist.
27
Gillette, Amy Elizabeth. "Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.
Повний текст джерелаАнотація:
Art HistoryPh.D.
The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels’ liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels’ song; by modeling the angels’ roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to “angelize” people’s mental worlds and ritual behaviors.
Temple University--Theses
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Cole, Carolyn Sue. "The sacred art of spiritual direction walking in wholeness and holiness /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Adams, Sandra. "A 21st century pilgrim’s progress: art practice, place and the sacred." Thesis, Curtin University, 2013. http://hdl.handle.net/20.500.11937/2560.
Повний текст джерелаАнотація:
The artworks and exegesis that comprise this body of work explore what it means to belong - in place, in a lineage and in relation to the sacred - and seek to understand how art practice serves to interrogate and address the alienating effects of dislocation, transience and otherness. In positioning art practice as a collaborative engagement, this work challenges traditional notions of personhood and expands the parameters of the numinous.
30
Vignola, Alessandra <1987>. "Sacre icone in marmo tra Bisanzio e Venezia: ricollocazione, significati e culto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13673.
Повний текст джерелаАнотація:
La tesi riguarda il nucleo di icone marmoree presenti - attualmente e nel passato - a Venezia che risultano maggiormente aderenti ai modelli bizantini: ad oggi risultano collocate in chiese e in pareti esterne di edifici oppure musealizzate.
Venerate, desiderate e trafugate nel Medioevo, si rivelano opere di difficile inquadramento: innanzitutto per la natura ibrida tra la scultura, l’effige sacra e la reliquia, secondariamente per la mancanza di fonti che ne attestino con certezza la provenienza e le modalità di acquisizione e infine perché influenzarono e stimolarono una produzione locale che ne prendeva a riferimento i modelli coniugandoli con elementi occidentali.
Un’espressione artistica che non sempre rientra nel fenomeno del reimpiego, ma certamente in quello dell’adozione, perpetuazione e rivisitazione di un uso bizantino di cui la città ducale si faceva fautrice e protagonista: possono essere vere e proprie exuviae trafugate da Bisanzio, rilievi commissionati ad atelier orientali oppure realizzazioni eseguite da artisti greci immigrati nella città ducale e da loro allievi locali.
Nel corso della ricerca, si inquadrano le opere nel contesto bizantino operando un confronto per usi, stile e iconografia, seppur nei limiti dettati dalle sopravvivenze orientali, spesso non rinvenute in loco, ma pervenute in modo casuale e nelle loro declinazioni provinciali. L'indagine pone attenzione alla collocazione e alle modalità di installazione e ai connessi significati ideologici, religiosi e politici.
In quanto espressione della pietà popolare, si dà rilievo alle pratiche liturgiche e devozionali di cui erano oggetto e all’apparato miracoloso e leggendario che spesso le caratterizzava.
Lo studio delle (poche) fonti e l’analisi del contesto nel quale sono (o erano) inserite sono punto di partenza per ripercorrerne gli spostamenti e, in alcuni casi, per avanzare ipotesi riguardo alle modalità di acquisizione. Ciò permette di valutarne l’influenza nella produzione locale indagando le modalità di ricezione e reinterpretazione della comunità veneziana di accoglienza.
Spesso trascurate dalla critica, inibita dalla difficoltà di distinguere gli “originali” dalle “copie”, la tesi vuole essere punto di partenza per estrarre le opere dal “limbo” al quale sono state relegate, dando loro nuova autonomia e dignità.
31
Kaercher, Julianne C. "Female duality and Petrarchan ideals in Titian's Sacred and profane love." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237842179.
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32
Laskaris, Julie. "The art is long on the sacred disease and the scientific tradition /." Leiden ; Boston ; Köln : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb39161836g.
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33
Szymanska, Agnieszka. "Sacred Spectating: The Late Antique Triconch at the Red Monastery in Egypt." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/452187.
Повний текст джерелаАнотація:
Art HistoryPh.D.
This dissertation focuses on the Red Monastery church, an early Byzantine monument located in Egypt. A monastic community which came to be known as the Red Monastery joined an ascetic federation led by the nearby White Monastery. In the fifth century C.E., the monks of the White and Red Monasteries commissioned monumental church buildings. The Red Monastery church is a smaller copy of the White Monastery church. Both are triconch basilicas, and their enclosure walls imitate the external profiles of pharaonic temples. The interior elevations of the two church sanctuaries adopt an architectural type called multistory aedicular façades. These kinds of façades adorned elite public buildings in the eastern Mediterranean region. Although a lot of scholarship has been done on the White Monastery and its famous abbot Shenoute (ca. 346-465 C.E.), the Red Monastery church was almost completely overlooked until recently. Between 2000 and 2015, Elizabeth S. Bolman directed a major multidisciplinary project that focused on the triconch sanctuary of the Red Monastery church. Its ensemble of architectural sculpture, polychromy, and figural paintings is virtually intact. Bolman and Dale Kinney have substantially advanced the state of knowledge about monastic visual culture in late antique Egypt by focusing on the Red Monastery church. My dissertation builds on their conclusions. I have identified a different perspective from which to understand the late antique triconch at the Red Monastery. The category of sacred spectating is the interpretive lens through which I view this building.
Temple University--Theses
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Lours, Mathieu. "Les cathédrales de France du Concile de Trente à la Révolution : mutations d'un espace sacré." Paris 1, 2006. http://www.theses.fr/2006PA010552.
Повний текст джерелаАнотація:
Les cathédrales de France connurent, de la fin du XVIIe siècle à la Révolution, une période de mutations sans précédents depuis le XIIIe siècle. Tous les autels et décors de chœur furent remplacés ou transformés. Cette mutation a pour cadre la mise en application des décrets du concile de Trente. Cependant, les cathédrales furent, à cause du poids des destructions causées par les guerres de Religion et le conservatisme gallican du monde canonial, parmi les dernières églises de France à accepter d'ouvrir leur chœur clos d'un jubé pour rendre l'autel visible par les fidèles. Les grands travaux du XVIIIe siècle manifestent donc comment on a tenté, dans les cathédrales, d'associer le goût pour le nouvel art à la mode et la meilleure conservation possible des traditions gallicanes. Deux formules s'affrontent alors, qui toutes deux procèdent d'une réflexion sur une mémoire vivante des lieux. Les dispositions "romaines ", avec autel en avant du chœur s'inspirent du modèle de la basilique antique, alors que la formule parisienne consiste en un chœur simplement entrouvert où demeure l'ancienne disposition, associée à la gloire ou même au baldaquin.
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Minor, John Kyle. "The secret and the sacred are siblings." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/6616.
Повний текст джерелаАнотація:
The Secret and the Sacred Are Siblings is a collection of fiction divided into three sections. The first, "Two Dispatches from Jesusland," contains two stories set in the United States, among disaffected fundamentalists. The second, "Three Koulev-Ville Stories," contains two short stories and a novella set in Haiti, among expatriates and locals. The third section contains two excerpts from The Sexual Lives of Missionaries, a novel-in-progress.
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Croizier-Varillon, Isabelle. "L'art sacré en Béarn et en Pays Basque dans la période de l'entre-deux-guerres." Thesis, Pau, 2012. http://www.theses.fr/2012PAUU1010/document.
Повний текст джерелаАнотація:
La période de l’entre-deux-guerres en France correspond à une phase de renaissance pour l’Art sacré. Après la loi de Séparation de 1905, l’Église dut se réorganiser, renouveler son message spirituel et inscrire concrètement son action au sein d’une société en mutation. La création d’ateliers d’art sacré et le lancement des Chantiers parisiens du cardinal Verdier, soutenus par plusieurs publications comme la revue de L’Art Sacré, insufflèrent une impulsion nouvelle à la production religieuse. Le diocèse de Bayonne participa pleinement à cet essor. Souscrivant, d’une manière originale et dynamique, à cette nouvelle configuration, il tenta d’y inclure les particularismes régionaux en faisant notamment apparaître les spécificités identitaires basque et béarnaise. L’action conjointe des évêques et des curés bâtisseurs, des architectes, des maîtres verriers et mosaïstes, des peintres, des sculpteurs ou même des orfèvres, témoigne de la réécriture de schémas anciens, voire conventionnels, au profit d’un art hésitant entre audaces et compromis. C’est en effet sous les bannières de la tradition et du renouveau, du régionalisme et de la modernité que se situe l’art sacré dans le diocèse de BayonneThe interwar years in France witnessed a revival of sacred Art. After the 1905 law on the separation of Church and State, the Church had to reorganize and renew its spiritual message and reposition its action in the context of a changing society. The creation of religious art workshops as well as the launching of the Parisian “Chantiers du Cardinal”, initiated by cardinal Verdier, supported by a number of reviews such as L’Art Sacré, gave a new impulse to the production of religious art. The diocese of Bayonne took a full part in this initiative. It was keen to contribute in original and dynamic ways to this new direction and tried to include regional elements and in particular features reflecting Basque and Bearnais identities. The joint work done by bishops and priests involved in building churches, architects, glassmakers and mosaic artists, painters, sculptors and even goldsmiths, shows how well-established and even conventional designs were revisited to produce an art which hesitated between daring innovation and compromise. Indeed, the sacred art of the diocese of Bayonne was marked by a mixture of tradition and renewal, regionalism and modernity
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Thunø, Erik. "Image and relic : mediating the sacred in early medieval Rome /." Roma : L'Erma di Bretschneider, 2002. http://catalogue.bnf.fr/ark:/12148/cb39178939p.
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Ndinga, Nziengui Alphonse. "Art et spiritualité : la question du sacre et du divin dans l'art et la pensée bantu." Paris 4, 2001. http://www.theses.fr/2001PA040039.
Повний текст джерелаАнотація:
L'art bantu, particulièrement sa statuaire de nature anthropomorphe, se présente, à tous égards, comme étant la véritable voie d'accès aux réalités propres au monde noir-africain au Sud du Sahara ; c'est, en effet, un tremplin aux diversités culturelles, aux moeurs,aux pratiques religieuses et aux vertus esthétiques, dont l'Africain en a fait des normes de référence d'identité par excellence. Sa vision du monde est déterminée ici par une connaissance de l'univers qui est définie par une incessante envie de toujours agir conformément à l'ordre sacré de la nature ; car c'est ainsi qu'il cherche à outrepasser le réel pour l'imaginaire, le saisissable pour l'immatérialité, ou simplement le paraître (ou l'étant) pour l'Etre. Or l'Etre, divin soit-il, est ce vers quoi tend le sage (le Muntu) ; c'est celui qui a su interroger la nature pour établir la communication entre le Ciel et la Terre, entre les Mortels et les Immortels, entre les hommes (par l'intermédiaire des ancêtres) et toutes divinités. Donc, par le truchement de l'art sacré du culte, l'être humain est re-situé au centre du cosmos et de la pensée ; la religion et la plasticité en ont fait ainsi un être sacré, pur et divinThe bantu art, particulary its statuary of nature anthropomorphe, is presented, in all connections, as being the true way opening with realities specific to the world black-african in the South of the Sahara. .
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DATTILO, DELIA. "“EVERYBODY IS WELCOME”. Un'analisi etnomusicologica del sacred harp singing e un percorso storico nel movimento del Sacred Harp in pratiche locali e scenari transnazionali." Doctoral thesis, Università degli Studi di Cagliari, 2022. http://hdl.handle.net/11584/328752.
Повний текст джерелаАнотація:
Il sacred harp singing è una pratica di canto multipart a cappella attualmente eseguita da alcune migliaia di persone in tutto il mondo, principalmente in area anglosassone (Stati Uniti, Canada, Regno Unito e Irlanda) e in alcune zone dell'Europa settentrionale ( Francia, Germania e Polonia). Prende il nome da un tunebook in notazione four shape intitolato The Sacred Harp, compilato dal maestro di canto Benjamin Franklin White e pubblicato nel 1844. Il libro è stato ristampato a più riprese fino all'edizione corrente del 1991, utilizzata dalla maggior parte delle comunità e contenente oltre 550 canti a quattro parti. In generale, il repertorio scritto conserva, da un lato, i tratti peculiari della “First New England School of Composers”, dall'altro, la struttura dei camp meeting song. Sono inoltre presenti numerose armonizzazioni di psalm tune, di folk song e ballad europee. I tratti musicali che caratterizzano questa pratica esecutiva si sono sviluppati sulla scia della tradizione degli “Yankee Tunesmiths” e presentano aspetti tecnici e normativi peculiari, sintetizzati con l'espressione dispersed harmony, in opposizione alla close harmony che, al contrario, contraddistingue l'armonia “classica”. La pratica vocale è detta fasola singing ed è il risultato di una peculiare interazione fra codici e comportamenti musicali specifici, variamente formalizzati e trasmessi oralmente. Moltissimi sono gli arrangiamenti di melodie tradizionali di origine secolare e sacra, persistenti nello scenario esecutivo attuale. A partire dalla fine degli anni '90 si è verificata una riproposta del sacred harp singing in Europa; attualmente molte comunità laiche locali stanno sperimentando lo studio e la pratica collettiva del sacred harp attraverso la partecipazione diretta a singing di varia natura. I protagonisti di questi scenari esecutivi si incontrano settimanalmente in regular singing di carattere livello locale, e annualmente, in All-Day Singing e annual convention di carattere transnazionale, durante i quali i vari partecipanti ‒ provenienti da comunità attive perlopiù fra Stati Uniti ed Europa ‒ fanno esperienza della propria dimensione spirituale attraverso la pratica musicale collettiva. La mia ricerca si è basata sullo studio delle competenze musicali e delle varie strategie di trasmissione fra i partecipanti a livello locale e transnazionale, come pure su aspetti legati al repertorio tradizionale di The Sacred Harp (1991) e altri tunebook di questo tipo. Dall'inizio dell'isolamento globale fino a oggi, l'impossibilità di cantare dal vivo ha stimolato le varie comunità del Sacred Harp a tentare ogni possibile approccio per garantire la continuità della tradizione, sviluppando una serie di strategie dai quarantine- ai virtual singing. Per quanto riguarda questo studio, la partecipazione diretta a ciascuna delle attività, sia in presenza, sia online, mi ha consentito di analizzare i processi culturali che definiscono il movimento a un livello globale. Subito dopo la ricerca sul campo, svolta tra il 2019 e il 2020, e in seguito alla diffusione della pandemia, ho preso parte a numerose riunioni virtuali che mi hanno spinta a dover sintetizzare, mettendoli a confronto, gli esiti della ricerca sul campo con quelli derivanti da una indagine etnografica ibrida, adattando la metodologia di ricerca a situazioni nuove e imprevedibili. Sebbene molti degli elementi fondamentali del paesaggio sonoro e della prossemica del sacred harp singing siano di fatto cambiati drasticamente ‒ a causa dell'impossibilità di ritrovarsi a cantare insieme ‒ le aspettative di moltissimi protagonisti della scena europea e statunitense sono andate (e in una certa misura continuano ad andare) verso la “rappresentazione” di tali ambienti sonori, attraverso l'utilizzo di vari dispositivi utili a emulare o a ricreare un singing.
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Matthews, Elaine Katherine Simone. "Environmental art and its contribution to establishing an awareness of the sacred in nature." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002209.
Повний текст джерелаАнотація:
The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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Linder, Inge E. "Pilgrimage to the millennium : sacred art and architecture in late twentieth-century France." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342183.
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Miller, Brett A. "The sacred art of verbal self-defense : image restoration discourse in christian rhetoric /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962548.
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Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.
Знайти повний текст джерелаАнотація:
Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005."A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.
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Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.
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Harding, Philip Edward. "The proportions of sacred space: South Asian temple geometry and the Durga Temple of Aihole." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413359874.
Повний текст джерела
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Lepoittevin, Anne. "La statuaire très chrétienne des Sacri Monti d'Italie (1490-1680) : Génèse, histoire et destin d'une invention moderne." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2012.
Повний текст джерелаАнотація:
La thèse établit l’histoire comparative des différents Sacri Monti italiens dans un but précis : étudier la transformation d’ « architectures » qui étaient des copies de lieux vides de Terre Sainte en vastes cycles chronologiques animés de nombreuses peintures et statues. Les nécessités religieuses de ces sites définissent un rapport original entre les arts qui donne la première place aux statues : on l’appellera « paragone chrétien ». La statuaire y est exceptionnellement didactique et propre à susciter les émotions. Didactique : les Sacri Monti mettent progressivement en place une statuaire narrative. Propre à susciter les émotions : ces terres cuites polychromes à grandeur sont « vivantes » au point d’incarner les scènes. À la fois familiers et exotiques, variés et récurrents, les très nombreux personnages des chapelles composent souvent des types singulièrement outrés. Leur beauté et surtout leur laideur cruelle et difforme, doit être utile : s’appuyant sur une lecture physiognomonique des scènes, le pèlerinage (guidé) aux Sacri Monti constitue une catharsis chrétienneThis dissertation examines the history of the Italian Sacri Monti from a comparative perspective. The main objective is to understand how “architectures” that were copies of void monuments from the Holy Land were transformed into large chronological cycles animated through the use of numerous paintings and statues. The religious motivations of these sites define a specific relationship between the different art forms, one that emphasizes sculpture and which can be characterized as a “Christian paragone”. Statuary is particularly didactic and emotional. It is didactic in the sense that the Sacri Monti serve to stage a narrative statuary It is also emotional since the life-sized and polychrome terracotta sculptures are so “alive” that they seem to be performing the scenes. The many characters in the chapels are both familiar and exotic, diverse and repetitive. They constitute types that often look strangely outraged. Their beauty but also their cruel and deformed ugliness serve a didactic purpose: grounded on a physiognomic reading of the scenes, the (guided) pilgrimage to the Sacri Monti mediates a Christian catharsis
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Shirey, Heather Marie. "Empowering spaces Candomble art in sacred and secular contexts in Salvador da Bahia, Brazil /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3204301.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0005. Adviser: Patrick McNaughton. "Title from dissertation home page (viewed Jan. 22, 2007)."
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Stone, Brian James. "Ars rhetorica et sacrae litterae: St. Patrick and the Art of Rhetoric in Early Medieval Briton and Ireland." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/852.
Повний текст джерелаАнотація:
This dissertation is the first intensive rhetorical analysis of the writings of St. Patrick. This analysis, informed by interdisciplinary perspectives and methodologies, contributes to our understanding of the rhetorical nature of St. Patrick's writings, as well as the nature of rhetorical education in early medieval Britain and Ireland The literary significance of Patrick's extant writings, Epistola ad milites Corotici and Confessio, beyond their apparent historical value, has regularly been disputed by prominent scholars. Questions of the level of education Patrick received before being assigned to the bishopric in Ireland have informed debates over the quality and importance of his contribution to Hiberno-Latin literature. This study demonstrates the significance of Patrick's texts through discussion of Patrick's rhetorical astuteness and application of classical rhetorical techniques to a new and challenging context: that of a disseminating Christian world. The rhetorical strategies witnessed in Patrick's writings are decidedly Christian and therefore demonstrate the changing rhetorical culture of the early medieval period. The first chapters focus on ars dictaminis and Patrick's employment of the art of letter writing in Ireland in the 5th century CE. The rhetorical strategies detected in Patrick's Epistola ad milites Corotici are discussed relative to the socio-political and cultural context of early medieval Ireland. The later chapters study the Confessio in relationship to the Confession genre in the Late Roman and Early Medieval periods. Of particular significance here is the rhetorical practice of imitatio, which has deep reaching theological and ideological implications.
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Flamant, Michèle. "Oiseau familier, oiseau sacré : iconographie des oiseaux dans l'Inde ancienne." Paris 4, 2000. http://www.theses.fr/2000PA040023.
Повний текст джерелаАнотація:
Cette étude montre l'image de l'oiseau dans l'Inde ancienne sous son aspect familier et sous son aspect sacre. Le premier terme s'applique à l'oiseau dépeint dans son milieu naturel, ou élevé au rang d'animal favori. A l'opposé, il est qualifié de sacré lorsqu'il côtoie les dieux, comme Vahana ou comme attribut, ou encore lorsque, dans les jataka, il incarne le bodhisattva. Cette recherche, commencée avec la civilisation de l’Indus, se termine aux environs du XIIIe siècle avec la dynastie Hoysala. Les choix iconographiques proviennent pour l'essentiel des sites de Harappa, Mohenjo-Daro, Sanci, Bhârhut, Amaravati, Mathura, Deogarh, Ajanta, Bâdâmi, Aihole, Pattadakal, Ellorâ, Bhubaneshwar, Khajurâho, Belur, Halebid. Quelques exemples sont pris à Java. A partir d'une analyse thématique en trois parties, le déroulement iconographique est traité suivant un plan chronologique. La première partie, historique, traite des premières représentations de l'oiseau dans la culture de l’Indus, puis sous le premier empire de l'Inde. La seconde consacre un chapitre au thème de l'oiseau dans les jataka et fait coïncider le conte et son illustration. Ensuite est abordé le thème de l'oiseau associe à la divinité : le Hamsa de Brahma, le paon et le coq de Skanda-karttikeya. Le dernier chapitre traite de l'image de Garuda, l'homme-oiseau Vahana de Vishnu : son origine solaire dans le rig-veda, l'établissement de sa légende dans le Mahabharata, les différents mythes qui le caractérisent, dans les textes et dans l'iconographie, son évolution de l'aspect avimorphe à l'aspect anthropomorphe. La troisième et dernière partie s'intéresse à la fonction résolument décorative des oiseaux. Un chapitre traite le thème de la femme et de l'oiseau, une réflexion fondée sur l'observation. Qu'il soit ornement, messager et confident, compagnon de jeu, l'oiseau accompagne la figure féminine avec constance, comme un animal favori. Les oiseaux sont également un élément spécifique du décor architectural, disposés en frises qui soulignent les corniches et les soubassements, ou en médaillons - seuls ou affrontés, mêlés aux motifs végétaux avec lesquels ils se confondent. L'étude iconographique de ces oiseaux permet l'identification d'une quinzaine d'espèces, dont l'oie, le paon et le perroquet sont les plus fréquemment représentés.