Добірка наукової літератури з теми "Iconographic representations"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Iconographic representations".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Iconographic representations"
1
Laugrand, Frédéric, and Jarich Oosten. "Representing the “Sea Woman”." Religion and the Arts 13, no. 4 (2009): 477–95. http://dx.doi.org/10.1163/107992609x12524941450000.
Повний текст джерелаАнотація:
AbstractThis paper examines the dynamics of the representation of the “sea woman,” sometimes known as Sedna, among the Inuit of Northeastern Canada in myths, shamanic experiences, and modern artistic representations. The varying representations of the sea women are connected to shamanic practice. The sea woman does not have a clearly defined iconography; this lack of definition gave shamans some flexibility in giving versions of encounters with the sea women, and enables Inuit artists to utilize that lack of iconographic specificity in creating their sculptures today.
2
Odak, Marina. "From an imperial stemma to a laurel wreath. Images of rulers on prince Lazar’s coinage." Zograf, no. 46 (2022): 175–90. http://dx.doi.org/10.2298/zog2246175o.
Повний текст джерелаАнотація:
The paper deals with the representations of rulers on the coinage of Prince Lazar while tracing the iconographic and insignological changes in the depiction of the prince, which reflected Lazar?s political program in different phases of his reign. Modeling his first representations on the dinars he minted on the coinage images of the emperors Dusan and Uros, shaped on their money according to the formulas of Byzantine imperial images, after consolidating his power, Lazar gradually left the framework of the Byzantine ruler iconography and entered the sphere of the western monarchical image, culminating in the representation of the prince depicted in a profile bust with a laurel wreath, created under the influence of Hungarian coinage.
3
Knight, Vernon. "Style and Configuration in Prehistoric Iconography." Southern Anthropological Society Proceedings 42, no. 1 (2013): 223–38. http://dx.doi.org/10.56702/mpmc7908/saspro4201.10.
Повний текст джерелаАнотація:
The iconography of ancient art has to do with making propositions about what that art depicts. Stylistic studies, in contrast, make propositions about the sharedness of formal properties with other objects. These can be done separately. Although many iconographic analyses of ancient art proceed with little or no consideration of style, I argue that the two modes of analysis are interdependent. I offer a methodological case that stylistic analysis is logically prior to iconographic study in the domain of ancient art. This observation argues for a distinctively staged approach to the iconography of ancient objects, one in which detailed stylistic study is a necessary prerequisite to success in determining the referents of representations.
4
Fundic, Leonela. "Picturing Christ’s childhood: Some examples of a rare iconographic theme inspired by the infancy gospels." Zograf, no. 37 (2013): 133–45. http://dx.doi.org/10.2298/zog1337103f.
Повний текст джерелаАнотація:
This article examines Byzantine wall paintings dated to the thirteenth and fourteenth century depicting a rare iconographic theme of Jesus?s childhood inspired by the Infancy Gospels. The iconography shows the Virgin Mary leading the child Jesus by the hand. The child is depicted holding different objects, such as a writing tablet, an unfurled scroll, or a wicker basket filled with flowers or fruits. Several of the scenes under examination have been hitherto misidentified or altogether unknown. In addition to this, the article interprets these representations in a broader iconographic context and addresses the possible origin of the theme.
5
ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.
Повний текст джерелаАнотація:
Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.
6
Volodarskaya, Elena A. "A Study of the Scientist’s Image in the Context of S. Moscovici’s Theory of Social Representations." RUDN Journal of Psychology and Pedagogics 18, no. 2 (December 15, 2021): 402–21. http://dx.doi.org/10.22363/2313-1683-2021-18-2-402-421.
Повний текст джерелаАнотація:
The article describes the scientific and social aspects of the functioning of the scientific school created by S. Mosсoviсi, revealing various forms of this association: a research team, a scientific direction, an invisible college. The authors focus on the possibility of studying social representations through the inclusion of new analytical methods in the diagnostic toolkit, in particular, iconographic documents and images of a social object, which indicates the current stage of the functioning of S. Mosсoviсis scientific school. The formation of social representations not only through verbal associations but also through drawings is explored by the authors through the example of how adolescents develop their social representations of a scientist. The purpose of this study is to highlight the categorical features of the image of a scientist in modern Russian adolescents, identified using the DAST drawing technique. The hypothesis of the research is the assumption that the system of social representations of a scientist among Russian adolescents contains both stable indicators of a persons belonging to the professional scientific community and variable contextual elements of the scientists image, whereas the degree of expression and the ratio of stable and contextual elements reflect the characteristics of the scientists image in domestic respondents. The Draw-A-Scientist Test (DAST) technique was used as the main diagnostic tool aimed at identifying adolescent representations of a scientist based on iconographic associations.The obtained drawings were analyzed by the expert evaluation method, involving the procedures of correlation and factor analysis. The results of the study show that Russian adolescents generally have a stereotypical representation of a scientist associated with the use of general indicators of external appearance, which determine the professional affiliation of the character depicted. Differences were found in the frequency of using stable and contextual iconographic elements of drawings. It has been shown that it is possible to use the drawing technique as a diagnostic tool for identifying social representations of a scientist based on an analysis of the meaning of an object through its iconographic fixation.
7
Vinzent, Jutta. "In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain." Exchange 39, no. 1 (2010): 29–48. http://dx.doi.org/10.1163/016627410x12559405201117.
Повний текст джерелаАнотація:
AbstractThis essay explores contemporary religious art in Britain through the lens of Homi K. Bhabha’s concept of hybridity. While he leaves it rather ‘ambivalent’, this essay suggests that in visual representations, various forms of hybridity can be distinguished: inculturation, interculturation and transculturation. These three types, hijacked from religious dialogue discourses, show a variety of power relations in representation and context; while incultural elements are based on a dominant versus subordinate role, intercultural ones form a dialogue; both expand iconographic vocabularies. Transcultural symbols refer to those which are existing parts of a variety of iconographies; these thus ‘merge’ visually different cultural heritages; their interpretation is, in the true sense of Bhabha, hybrid. The essay concludes by referring to the limits of transcultural symbols, which accept losses, blurs and shifts. The entire analysis is based on Hindu and Christian iconographies exploited by Caroline Mackenzie in her four wooden panels located for the Catholic Church in St. Helen in Caerphilly (Wales), commissioned in 1999.
8
Russell-Smith, Lilla. "Stars and Planets in Chinese and Central Asian Buddhist Art in the Ninth to Fifteenth Centuries." Culture and Cosmos 10, no. 1 and 2 (October 2006): 99–124. http://dx.doi.org/10.46472/cc.01210.0213.
Повний текст джерелаАнотація:
This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how many paintings represent them. A Chinese painting from Dunhuang shows a seated Buddha (the Buddha of the Blazing Light) on a chariot surrounded by the planets, represented as human figures with their attributes. Such representation of this Buddha was always associated with the planets. This essay introduces later Chinese paintings as well as a hitherto misidentified Uygur example of this representation, and points out that the iconography of the planets remained remarkably constant in East Asian art. The essay also includes relevant sections of sutras, as these determined the iconographic method for showing the planets up to recent times in China, Japan and Korea.
9
Beckerlegge, Gwilym. "Iconographic representations of Sri Ramakrishna and Swami Vivekananda." Journal of Contemporary Religion 11, no. 3 (October 1996): 319–35. http://dx.doi.org/10.1080/13537909608580778.
Повний текст джерела
10
Raaphorst, Kevin, Gerda Roeleveld, Ingrid Duchhart, Wim Van der Knaap, and Adri Van den Brink. "Reading landscape design representations as an interplay of validity, readability and interactivity: a framework for visual content analysis." Visual Communication 19, no. 2 (June 11, 2018): 163–97. http://dx.doi.org/10.1177/1470357218779103.
Повний текст джерелаАнотація:
Considering the importance of visual representations for communication between stakeholders in landscape planning and design processes, the authors identify a lack of critical visual research methods supportive of the disciplines involved. As part of such a method, they have developed an analytical framework based on semiotic and iconographic theory that enables a visual content analysis and iconographic interpretation of landscape design representations. Two projects from Rebuild by Design, a participatory transdisciplinary design competition organized in the New York City area after hurricane Sandy, were analysed to demonstrate this framework. The article presents a semiotic vocabulary based on four categories: medium, mode, formulation and knowledge with which to ‘read’, discuss and potentially create design representations. This enables a syntactic analysis for assessing the semiotic complexity of design representations in terms of validity, readability and interactivity. This assessment enables further qualitative study of the production and interpretation of landscape design representations in practice.
Дисертації з теми "Iconographic representations"
1
Rouhani, Esfahani Mina. "Représentation des femmes dans l'argenterie sassanide du IIIe au VIIe siècle : une approche iconographique." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0618.
Повний текст джерелаАнотація:
L’étude de la représentation des femmes sur les objets d’art de l’Iran Sassanide (224-651 EC) a signifié à la fois un défi considérable mais a suscité en même temps beaucoup de plaisir et de curiosité. Au cours des quatre siècles sassanides, on constate une augmentation des représentations féminines sur les vaisselles en argent notamment à la fin de cette période. De plus, cette iconographie a évolué de façon beaucoup plus significative que sur toute autre source artistique à cette époque telle que les bas-reliefs, les sceaux et cachets, les monnaies, les mosaïques, les stucs et les figurines.Le volume I (texte, illustrations) étudie sur trois chapitres les représentations des femmes sur les argenteries puis compare leur iconographie avec celle des autres objets d’arts. Le volume II est constitué du catalogue reprenant les documents des représentations féminines sur l’argenterie Sassanide du IIIe siècle au VIIe siècle (61 objets en argent). Une annexe comporte les explications supplémentaires, les tableaux et les figures pour soutenir les chapitres de Volume IThe study of women representations on works of art from Sasanid Iran (224-651 CE) has not only meant a tremendous challenge subject but also a source of pleasure and curiosity. During the four Sassanid centuries, the female representations on silver vessels have increased especially at the end of this period. The relevant iconography on vessels have significantly changed more than on any other artistic sources of this period such as the rock reliefs, seals, coins, mosaics, stucco and figurines.Volume I (text, illustrations) in three chapters, studies women representations on silver vessels and addresses the comparison of its iconography with other works of art of this period.Volume II is the catalog of iconographic documents on women representations on Sassanid silver vessels from the 3rd to the 7th century (61 silver objects).An appendix contains additional explanations, tables and figures to support the chapters of Volume I
2
Cohen, Golda. "Les représentations sociales du médicament : une perspective iconographique." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30093/document.
Повний текст джерелаАнотація:
Le médicament est un objet social qui est au coeur de diverses relations matérielles et symboliques. Pour connaitre les formes d’opinions et de savoirs qui lui sont associés au sein de la population française, nous avons mobilisé le cadre théorique des représentations sociales. En raison de la propagation massive des images dans les nouveaux médiums de communication, nous avons choisi d’aborder les différentes recherches qui constituent ce travail de thèse sous l’angle de la perspective iconographique. A ce titre, nos investigations s’articulent autour de deux axes : Le premier axe (N=946) s’intéresse à l’implication de l’imagerie mentale dans la formation de la représentation sociale du médicament. Les trois recherches réalisées en ce sens nous permettront de constater le caractère collectif de l’imagerie mentale, encourageant ainsi la recherche sur les images. Le second axe (N=615) se focalise quant à lui sur les processus mobilisés par les individus quand il s’agit de sélectionner, mémoriser et comprendre des images relatives à des associations prototypiques de la représentation sociale du médicament. Les résultats obtenus suggèrent le développement d’une méthodologie avec les images. Dans leur ensemble, les travaux invitent le lecteur d’une part, à considérer l’importance des représentations sociales dans l’exercice de décryptage des images visuelles, d’autre part, à approfondir l’iconographie dans la perspective méthodologique de la théorie des représentations socialesThe medicine is a social object that is at the heart of many material and symbolic relationships. In order to know the opinions and knowledge associated with it within the French population, we mobilized the theoretical framework of social representations. Due to the massive spread of images in new mediums of communication, we chose to limit the research that constitutes this PhD in the iconographic perspective. As such, our investigations revolve around two axes: The first axis (N = 946) is concerned with the involvement of the mental imagery in the formation of social representation of the medicine. The three investigations carried out with this focus allowed us to observe the collective nature of mental imagery, encouraging research on the images. The second axis (N = 615) focuses in the processes mobilized by individuals when it comes to selecting, memorizing and understanding the images associated with the prototypical words of the social representation of the medicine. The results suggest the development of a methodology with the images. As a whole, the investigations invite the reader on one hand, to consider the importance of social representations in the deciphering of visual images, on the other hand to dig deeper in the iconography of the methodological perspective of the theory of social representations
3
Sarrasin, Francine. "La representation des instruments de musique : iconographie de la vie culturelle au canada." Paris, EHESS, 1986. http://www.theses.fr/1986EHESA112.
Повний текст джерелаАнотація:
Ma these porte sur la representation des instruments de musique dans l'art canadien. Plus de trois cents oeuvres (peintures, gravures, dessins) ont ete prealablement repertoriees dans les grands musees de l'est canadien (ottawa, montreal, quebec, toronto. . . ). Bien qu'incomplet, cet inventaire a servi d'element declencheur pour la repartition des divers chapitres et le travail analytique. Sur le plan methodologique, l'etude du "comment" de la representation, associee au caractere specifique du motif choisi (instrument de musique), ouvre le champ d'intervention a plusieurs disciplines. L'iconologie comme methode de base rejoint, au niveau des oeuvres, les connotations historiques et sociologiques de meme que les references musicales, ethnologiques et philosophiques. La demarche multidisplinaire et l'analyse comparative permettent de capter au mieux la polysemie du sujet traite. Une des hypotheses de base est que l'instrument de musique, comme motif iconographique, est, d'emblee, porteur de signification culturelle. Il s'avere que le caractere "canadien" se livre davantage avec le contenu des trois premiers chapitres: -l'instrument des fetes et rejouissances populaires: le violon de violoneux; - les instruments de plein air: la fanfare britannique et la musique amerindienne; - la femme pianiste. Les trois derniers chapitres, plus universels de contenu, revelent l'artiste et la pensee avant le documentaire. Il s'agit de: -l'instrument de musique dans le portrait; -le symbolisme de l'instrument de musique: de la mythologie au decor d'eglise; -instrument de musique et vie silencieuse: objet de nature morte. Jouant dans les premieres scenes, l'instrument montre devient de plus en plus silen- cieux a partir du chapitre sur le portrait. La musique qu'il faut entendre passe a- lors tres souvent au sein de la representation plutot que dans le motif montre. Il y a donc, sur le plan de la musique, un chiasme entre le represente et la repre- sentationMy thesis is based on the analysis of musical instruments in canadian works such as paintings, drawings, etchings. . . I have previously listed more than three hundred of the latter from the great eastern canadian museums (national gallery of canada, fine arts museum of montreal, museum of quebec, royal ontario museum. . . ). This inventory is not exhaustive but significant enough to layout the different chapters and set off the process of analysis. On the methodological point of view, the study of the different kinds of representations and the specific character of the chosen iconographic theme (the musical instrument), extend the area of my investigations. The iconology remains the principal way of my intervention but is frequently linked with the historical or sociological study, with the musical, ethnological or philosophical reference. The use of several methods of working in different specialized fields is a good way to circumvent the polysemic meaning of the subject which is concerned. One of the basic hypotheses is that the musical instruments, as figured in paintings, reveal something about the cultural reality. The canadian specification expresses itself principally with the instruments of the three first chapters: the instrument used in merrymaking: the fiddler's violin; -the instruments played outdoors: the military brittain wind-band and the indians' music; -the woman pianist. The three last chapters discuss a more universal subject. They are about the musical instrument in the portrait, the symbolism of the mythological lyre and of religious instruments and about still-life. The musical instruments which are played on in the first scenes become progressively silent. About this music, the representation takes over from which is represented
4
Ukmar, Victor Alexander. "The Photographic Representation of Refugees." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21902.
Повний текст джерелаАнотація:
This thesis tries to shed light on the visual portrayal of refugees within German and the British newspapers during the European refugee crisis in 2016. Furthermore, a visual autoethnography of my own refugee photography complemented this study.Through the analysis of 80 newspaper photographs from Germany and Britain (quality press & tabloids), as well as nine of my own pictures, the following research questions had to be answered:Q1: How were refugees photographically represented in German newspapers (quality press & tabloids) during 2016?Q.2 How were refugees photographically represented in British newspapers (quality press & tabloids) during 2016?Q.3 How was I, as an amateur photographer, indirectly influenced in my own photographic portrayal of refugees by contemporary media.The analysis was conducted by coding all images into different visual categories, while observing reoccurring patterns and visual styles. Furthermore, the icnonographic-iconologic image framework was used for an in-depth review of certain newspaper images (each representing a different newspaper) and for two pictures of my own photography in an autoethnographic manner.The findings suggested that women and children were predominantly featured in both, German and British newspapers. German quality press focused on the representations of state control and on the integration of refugees. Furthermore, German tabloids did not refrain from very graphic imagery.British press featured a high number of pictures with women and children, while no representation of refugee integration could be found. Furthermore, the most notorious British tabloid seemed to portray a rather negative and partially criminal image of refugees.My own photography indicated a strong influence of commonly usedrefugee motifs. Thus, a subconscious reflection of international newspaper photography could be identified.
5
BARRY, YAYA. "Representations of British Salafi Responses to the 7/7 Bombings : An Iconographical Analysis." Thesis, Uppsala universitet, Teologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-230208.
Повний текст джерелаАнотація:
Mainstream media has markedly depicted Salafism in quite monolithic ways, giving an impression of uniformity in ideology and practice of this community. This picture has moreover been framed in particularly negative ways when destructive phenomena like transnational terrorism, violent Jihadism and radical insurgency are closely associated with the movement. I decided to study how British Salafist responses to the London 7/7 bombings have been represented. The aim has been to study how such an atrocious act with the capacity to divide society has stimulated the will to live in peace or conflict; and moreover, I aim to look at how these responses have been portrayed by Salafis themselves over against the depictions given by mainstream media. I have however chosen to focus on the visual iconographic representations of these responses because I found them intriguing: “a picture paints a thousand words.” The thesis conducts a critical discourse analysis of these visual representations of Salafist responses to 7/7.
6
Gubel, Éric. "Phoenician furniture : a typology based on Iron Age representations with reference to the iconographical context /." Leuven : Peeters, 1987. http://catalogue.bnf.fr/ark:/12148/cb36149936v.
Повний текст джерела
7
Lavigne, Philippe. "Représentations et significations du mythe de l'âge d'or dans les arts figurés (XV - XVIIIème siècle)." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30059/document.
Повний текст джерелаАнотація:
Des origines de l'Histoire au lieu commun qu'il est aujourd'hui devenu, le mythe de l'Âge d'Or occupe une place singulière dans l'imaginaire collectif. Sans héros ni intrigue, synonyme d'une existence idéalisée, d'un état de plénitude, tout à la fois ancré dans le passé et l'avenir, il fournit à la littérature, à la poésie, à la philosophie, la possibilité de maintes réflexions sur l'humaine condition. Pourtant, dans le domaine des arts figurés, rares en sont les expressions avant les premiers soubresauts de la pensée moderne. La Renaissance – dont la dénomination même prend alors tout son sens – s'attachera à fixer des codes iconographiques toujours en vigueur. Les représentations d'une humanité insouciante, s'égayant par la nature ou festoyant, n'en recèlent pas moins toute la richesse de leurs pendants littéraires, de Virgile et d'Ovide notamment. Ainsi, l'Âge d'Or mis en images, sous couvert d'apparente simplicité, renvoie à des significations souvent mêlées qui ont trait à la politique, à la religion et à la morale. Considérées dans la sphère européenne, entre le XVème et le XVIIIème siècle, ces interprétations révèlent cependant des approches quelque peu différentes, qui reflètent peut-être des dissensions plus profondesFrom the origins of history to the commonplaces it has become today, the myth of the Golden Age takes up a peculiar place in the collective psyche. Without a hero or a plot ; synonymous with an idealized life and a plenitude state, deep-rooted in the past and the future at the same time, it provides literature, poetry and philosophy with umpteen thoughts about the Human Condition. Yet in the field of the figurative arts, the expressions of the first starts of the modern thought are scarce. The Renaissance – whose very denomination make sense then – will pay a particular attention to set iconographic codes which are still in force. The representations of a cheering up or entertaining careless mankind show all the richness of their literary counterparts, from Virgil to Ovid in particular. Thus, under the cover of a conspicuous easiness, the pictured Golden Age send back to often mixed significations wich refer to politicics, religion and morals. However, if considered in the European sphere between 15th and the 18th century, these interpretations show some slightly different approaches which may reflect some deeper dissentions
8
Venorsky, Sarah Jean. "VISUAL REPRESENTATIONS OF ADAM AND EVE:AN ICONOGRAPHICAL STUDY OF MEDIEVAL AND RENAISSANCE IMAGES CONCERNING GENESIS 1-3." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470076561.
Повний текст джерела
9
Robinson, T. P. E. "Cords of time : an iconographic analysis of the flat two dimensional knot in the context of classic period Maya representation." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427442/.
Повний текст джерелаАнотація:
In his book 'A Study In Maya Art And History: The Mat Symbol', Robicsek draws our attention to what he considers to be a well-defined group of motifs represented on Maya artifacts, and which he diagnoses as mat symbols (Robicsek 1975: 17). Robicsek identifies forty three varieties of mat-symbols which he organizes into four sets based on their design (Robicsek 1975: 186). The first design ‘consists of two bands of equal lengths twisted around each other’ (Robicsek 1975: 187), whilst the second conforms to the first design except that the twists are ‘enclosed within a medallion-like frame’ (Robicsek 1975: 187). The third design is an ‘interwoven design, which shows not only simple twists, but also a more intricate “in-and-out” pattern’ (Robicsek 1975: 187). The fourth he terms a ‘decorated design’ resembling the first with the exception that ‘circular motifs’ (Robicsek 1975: 187) are shown as attached to the twists. The third set, the motifs with an interwoven design are the items which interest me and which form the subject of this research. I have identified these motifs as representations of knots and propose that they should be categorized―based on their shared characteristics which I describe in Chapter Four―as members of a particular type of knot. The focus of this research is therefore not Maya knots per se but rather a particular knot type characterized by an interwoven design. Knots are constructed from perishable material, which does not survive in the archaeological record; therefore my dataset comprises representations of knots pictured on different media such as ceramics, sculpture, monuments and architecture. Because knot representation is richest in the Classic Period, this is the time period on which my research focuses. I propose that how or where this particular knot type was displayed was not arbitrary, but rather reveals intentionality; the implication is that knot motifs were vehicles for the communication of certain ideas or concepts and as such were infused with meaning. This position is supported by the research set out in Chapter Three which looks at the use of knots by different cultures over time and through space. Recovering meaning involves an analysis of the relationship between the knot representations and the items or personages, such asthrones or deities, which display the knots. Also entailed is a consideration of when (the date of the representation) and where (which sites), the knots were displayed. By means of these analyses an understanding is gained of the knot, based on its relationship with people and things over time and through space. The identification of one group of Robicsek’s purported ‘mat motifs’ as knots serves to open the door to more rigorous analysis. As a first step in unraveling and deconstructing Robicsek’s ‘mat symbol’ hypothesis, it is hoped that this work will inspire further research on the remaining motifs which are still erroneously interpreted as ‘mats’.
10
Fraser, Charikleia Konstantina. "The iconography of late Anglo-Saxon kingship representations of kings Æthelstan, Edgar, and Cnut in three illuminated manuscripts." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/32212.
Повний текст джерелаАнотація:
This thesis examines the iconography of Anglo-Saxon kingship through analysis of three late Anglo-Saxon prefatory manuscript illuminations. The compositions of these pictures are considered in detail and reinterpreted with reference to theological ideas of the period. The miniatures depict King Æthelstan holding an open book, King Edgar a closed book and King Cnut holding onto a cross. The crowned kings are depicted standing respectfully before sacred and divine authorities. Comparison of the prefatory miniatures in question with analogous compositions in Anglo-Saxon, Carolingian and Ottonian manuscript illumination reveals a variety of visual sources used to suggest ecclesiastical and divine sanction for the monarchs and their policies. An assessment of medieval textual sources is used to aid interpretation and understanding of the iconography associated with later Anglo-Saxon kingship. Historical and political issues are fully taken into consideration, an assessment of the propagandistic aspects of the iconography forming an important aspect of this. In evaluating the iconography of the Anglo-Saxon monarchy, the thesis focuses on the following themes: intercession and liturgical commemoration; coronation ceremonials; the interaction of monarchy with the Church; the use of biblical texts as a model for the practice of kingship, the relevance of increased literacy for safeguarding the upholding of good government; the tradition of donations to the Church. The thesis argues that the presence of the patron saints of the monastic foundations standing next to the Anglo-Saxon kings suggests scenes of intercession with strong overtones of salvation. The iconography of the three prefatory miniatures does not only record actual events of presentation, but manifests the spirituality, real or implied, of Anglo -Saxon monarchs in order to suggest the anointed king's exclusive relationship with God, assuring him of God's sanction and the salvation of his soul.
Книги з теми "Iconographic representations"
1
Foundation, A. G. Leventis, ed. Aspects of everyday life in ancient Cyprus: Iconographic representations. Nicosia: A.G. Leventis Foundation, 2006.
Знайти повний текст джерела
2
Besares, Dominador. Hinabol nga pagtuo: An ethno-iconographic representation of St. Augustine as a Vissayan. Iloilo City, Philippines: University of San Agustin, 2004.
Знайти повний текст джерела
3
McAlpine, Duncan Alister. Film robot: An iconographic study of the representation of the robot in science fiction film ... [s.l.]: typescript, 1985.
Знайти повний текст джерела
4
Walbiri iconography: Graphic representation and cultural symbolism in a central Australian society. Chicago: University of Chicago Press, 1986.
Знайти повний текст джерела
5
Didactic narration: Jataka iconography in Dunhuang with a catalogue of jataka representations in China. Münster: Lit, 2000.
Знайти повний текст джерела
6
Vrieje Universiteit Brussel. Faculteit der Letteren en Wijsbegeerte. Sectie Kunstgeschiedenis enArcheologie., ed. Phoenician furniture: A typology based on Iron Age representations with reference to the iconographical context. Leuven: Peeters, 1987.
Знайти повний текст джерела
7
Sourvinou-Inwood, Christiane. Studies in girlsʼ transitions: Aspects of the arkteia and age representation in Attic iconography. Athens: Kardamitsa, 1988.
Знайти повний текст джерела
8
Sourvinou-Inwood, Christiane. Studies in girls' transitions: Aspects of the arkteia and age representation in Attic iconography. Athens: Kardamitsa, 1988.
Знайти повний текст джерела
9
Nadav, Naʼaman, Zevulun ʻUzah, Ziffer Irit, Makhon le-arkheʼologyah ʻa. sh. Sonyah u-Marḳo Nadler., and Universiṭat Tel-Aviv Makhon le-arkheʼologyah, eds. Imagery and representation: Studies in the art and iconography of ancient Palestine : collected articles. Tel Aviv: Emery and Claire Yass Publications in Archaeology, 2002.
Знайти повний текст джерела
10
E, Cosgrove Denis, and Daniels Stephen, eds. The Iconography of landscape: Essays on the symbolic representation, design, and use of past environments. Cambridge [England]: Cambridge University Press, 1988.
Знайти повний текст джерелаЧастини книг з теми "Iconographic representations"
1
Pasquali, Paola. "Medical Iconographic Representations in the Pre-photographic Era." In Photography in Clinical Medicine, 3–14. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24544-3_1.
Повний текст джерела
2
Pop-Curşeu, Ioan, and Ștefana Pop-Curșeu. "Doomsday and Hellfire: Iconographic Representations of Witchcraft in Last Judgment Compositions." In Witchcraft in Romania, 219–304. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15222-1_6.
Повний текст джерела
3
Penco, Sara. "Smarticon: a Digital Eco-System for Cultural Heritage. Iconographic Convergences in Art and in World Religions." In Proceedings e report, 135–42. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.33.
Повний текст джерелаАнотація:
The recovery of the history of humanity goes through the comprehension of ancient testimonies handed down to us in artistic representations. The innovative tool par excellence is the technologies. Smarticon is an Italian patent for method in charge of studying historical analysis (originated from the morphology of the concept), of examining the phenomenology analysis (which results in the typology and exceeds it) and to the comparative research (which allows to arrive at the hermeneutics ). The comprehension of the transitory meaning of each event is entrusted to the historian who, by recomposing the phenomena, is also able to codify the comparative meanings.
4
de Brouwer, Jérôme, and Xavier Rousseaux. "A Ghostly Corpse in the City? Spatial Configurations and Iconographic Representations of Capital Punishment in the ‘Belgian’ Space (16th–20th C.)." In Ius Gentium: Comparative Perspectives on Law and Justice, 337–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90787-1_17.
Повний текст джерела
5
Mailleur, Stéphanie, and Renato Saleri. "Imagining Roman Port Cities: From Iconographic Evidence to 3D Reconstruction." In Beyond Digital Representation, 279–90. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36155-5_18.
Повний текст джерела
6
Román-Odio, Clara. "Globalization and Chicana Politics of Representation." In Sacred Iconographies in Chicana Cultural Productions, 99–117. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137077714_5.
Повний текст джерела
7
Xian, Zhou. "Wang Guangyi's The Great Criticism and pop iconography." In Cultural Representation and Cultural Studies, 230–45. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003407089-21.
Повний текст джерела
8
Mounin, Georges. "Iconography and Semiology: Representations of the Crucifixion." In Semiotic Praxis, 127–34. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4684-4829-0_12.
Повний текст джерела
9
Graziani, Michela. "Il Portogallo nel XVIII secolo." In Studi e saggi, 13–129. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0128-5.04.
Повний текст джерелаАнотація:
The first section of the volume aims to describe the Portuguese society of the 18th century through European travel reports, iconographical representations of the city of Lisbon and the cultural ferment through some of the most important Portuguese literary figures of the 18th century.
10
Standish, Paul. "Signs of the Times: Iconography of a New Education." In Educational Research: Material Culture and Its Representation, 179–89. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-03083-8_12.
Повний текст джерелаТези доповідей конференцій з теми "Iconographic representations"
1
Banu, Ionut Alexandru. "Iconographic representations on glass from the collection of dr. Nicolae Minovici museum of popular art." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.18.
Повний текст джерелаАнотація:
The icon on glass, more precisely the icon painted on the back of the glass, is a category of folk art, a genre of folk art practiced almost exclusively in Transylvania and which must be related to some influences from Central Europe. Through this communication, we set out to research, in more detail, a part of the collection of cult objects – icons on glass, bringing to the public’s attention some data about several items of this collection. From this category of heritage, the collection of Dr. Nicolae Minovici Museum of Folk Art counts about 30 icons on glass, made in Transylvania and being dated in the period between the XVIII–XIX centuries. They were made in the two great Transylvanian workshops, Șcheii Brașovului (20 icons) and the one from Nicula (10 icons). The work is structured in two parts; the first part includes some general data about icons, iconography, the appearance of the icon on glass and iconographic centers in our country, especially in Transylvania, where the objects from the museum’s collection were made. The second part includes a series of iconographic representations on glass from the museum’s patrimony, accompanied by descriptions, information on the workshop, craftsmen and technical data.
2
Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
Повний текст джерелаАнотація:
The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
3
Novello, Giuseppa, and Maurizio Marco Bocconcino. "Dal Theatrum Sabaudiae: disegni di fortificazioni nelle raffigurazioni celebrative di una dinastia." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11522.
Повний текст джерелаАнотація:
From the Theatrum Sabaudiae: drawings of fortifications in celebratory representations of a dynastyIn order to make the lands and places of their possessions known to European courts and communities, first Duke Carlo Emanuele II of Savoy (1634-1675) and then the Duchess Regent Maria Giovanna Battista of Savoy Nemours (1644-1724) published in 1682, in Amsterdam, at the printing works founded by the publisher and cartographer Joan Blaeu (1596-1673), the publication Theatrum Statuum Regiae Celsitudinis Sabaudiae Ducis, Pedemontii Principis, Cypri Regis. The contribution extracts and comments the graphic transcription made to represent the fortifications depicted in the views, comparing within synoptic paintings divided by theme or components, the recurrent codes of an iconographic nature contained in the one hundred and forty-five plates.
4
Vitali, Marco, Giulia Bertola, Fabrizio Natta, and Francesca Ronco. "Modelli plastici di architettura militare: valore di un patrimonio culturale da preservare e valorizzare nell’era digitale." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11537.
Повний текст джерелаАнотація:
Plastic models of military architecture: value of a cultural heritage to be preserved and enhanced in the digital ageThe contribution intends to bring to the attention of the scientific community the important Heritage made of plastic models, more or less homogeneously spread throughout Europe, which constitutes a patrimony of knowledge that links theoretical contributions on fortification, realizations, historical studies, archive documentation, technical representations, surveys, iconographic material. The enhancement process records an orientation that in recent years has found in the relevant digital tools one of the possible keys for setting up a data system and, in digital modeling, the medium for interesting developments also in relation to the use. Starting from the studies conducted in recent years on this specific topic, the research group is trying to identify the best strategies to be locally applied to enhance and make available on web different models at the various scales that describe Turin fortification's system and some portions of it.
5
Talenti, Simona. "Visions “humaines” ou “infernales”: les moyens de transport et la perception de la ville chez Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.821.
Повний текст джерелаАнотація:
Résumé: Les représentations des villes depuis la mer ont eu, à partir du XVe siècle, un grand succès dans l’iconographie urbaine des voyageurs. Depuis 1911, Le Corbusier a pris l’habitude d’esquisser dans ses carnets de croquis les paysages urbains découverts au cours de son voyage en Orient. Villes, remparts ou monuments significatifs sont souvent représentés depuis la mer ou les fleuves, car l'arrivée en bateau autorise une perception progressive et globale du site. Suite à son séjour en Amérique du sud en 1929, l'architecte exprime ouvertement son appréciation pour la perspective obtenue depuis le bateau au milieu des baies, car ce point de vue lui permet de contextualiser immédiatement ses propositions d’aménagement urbain. De simple connaissance des villes, cette pratique iconographique devient, chez Le Corbusier, un instrument d’élaboration du projet. Mais la vue horizontale est bientôt accompagnée du procédé de survol des centres urbains pour appréhender la grandeur du paysage naturel et construit. À travers l’analyse des nombreuses images – dessins, croquis, photos – élaborées par Le Corbusier à partir des différents moyens de transport, ainsi que des commentaires accompagnant ces documents iconographiques et de quelques textes publiés, on essayera de mieux comprendre le rapport entre l’échelle de ces visions panoramiques et la nouvelle approche territoriale mise au point par Le Corbusier à partir des années Trente. Abstract: The representations of cities viewed from the sea have had, since the fifteenth century, a great success in urban iconography. From 1911, Le Corbusier began drawing urban landscapes in his sketchbooks, which he discovered during his trip to the Orient. Cities, fortifications or significant monuments are often depicted from the sea or rivers, because the arrival by boat allows a gradual and overall perception of the site. After his stay in South America in 1929, the architect openly expressed his appreciation for the panoramic view obtained from the boat in the middle of the bay. This point of view allows him to contextualize his urban development proposals immediately. This iconographic practice is no longer a simple function of knowledge, but it has become an instrument for realising the project. However, the horizontal view was soon accompanied by the process of flying over urban centres to understand the magnitude of the man-made and natural landscape. Through the analysis of the many images – drawings, sketches, photos – developed by Le Corbusier using different means of transport, of comments accompanying these iconographic documents and of some published texts, the paper aims to better understand the relationship between the scale of these panoramic visions and the new territorial approach developed by Le Corbusier from the Thirties onwards. Mots clés: moyens de transport; avion; bateau. Keywords: means of transport; airplane; boat DOI: http://dx.doi.org/10.4995/LC2015.2015.821
6
Pajić, Sanja, and Roza G. Damiko. "UMETNIČKO – ISTORIJSKE VEZE KRAJEM 13. I POČETKOM 14. VEKA: ZAJEDNIČKE TEME U SRPSKOJ I ITALIJANSKOJ UMETNOSTI." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.581p.
Повний текст джерелаАнотація:
The paper considers the relations between art created on the territory of the Serbian medieval state and Italian painting from the end of the 13th and the first two decades of the 14th century in the context of contemporary historical events, as well as political and family ties between the Angevin, Nemanjić and Árpád dynasties. Representations of standardized forms of rare iconographic solutions appear in the monumental painting in the endowments of King Milutin (1282–1321), spread predominantly in the art at the territory of Serbia and Macedonia. The monumental Mother of God Pelagonitissa was shown in the church of the mon- astery in Staro Nagoričino, as well as Christ’s Ascent of the Cross in its trium- phant version, while the same scene, a different iconographic scheme empha- sizing the strong emotional charge, is preserved in the church of St. Nikita in Čučer. Moreover, a fairly unknown motif of the Mother of God kissing the Son in the cradle-sarcophagus was painted on the scene of the Birth of Christ in the Sts. Joachim and Anna Church (King's Church) in Studenica. Variations of these themes appeared in Italy in the same period, most often on small-size panels. These works, intended primarily for the Franciscans, were created in the centres where this monastic order maintained strong connections with the Guelfs, the Angevin dynasty and the popes. Thus, the interpretations of the Mother of God Pelagonitissa are found primarily in Romagna and Rimini, where Giovanni da Rimini presented this theme as the central part of the triptych, on whose side wing there was, among others, the scene of the Birth of Christ with the motif of the Mother kissing the Child. The triumphant version of Christ's ascent to the cross was painted in Tuscany and Siena, while the variation seen in the fresco in Santa Maria Donnaregina Vecchia in Naples is close to the fresco from Čučer. The significant role of the political and cultural mediator of the Serbian state was confirmed in the time of Milutin and his mother Jelena, whose relations with Angevins and Franciscans, widely present in the Balkans, are well known, simultaneously being in close contacts with popes, starting with Franciscan Pope Nicholas IV.
7
Shajani, Nafiseh. "MILLENNIAL REPRESENTATIONS OF MEDIEVAL RELIGIOUS SCHISM IN WESTERN MEDIA: An Iconographic Analysis of Dante�s Inferno 28 and the Twenty-First Century Films Dracula Untold and Kingdom of Heaven." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s06.11.
Повний текст джерела
8
Rodríguez Romero, Eva Juana, Carlota Sáenz de Tejada Granados, and Rocío Santo-Tomás Muro. "The role of historical green spaces in the identity and image of today’s cities: The case of Madrid." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5340.
Повний текст джерелаАнотація:
The role of historical green spaces in the identity and image of today’s cities: The case of Madrid Eva J. Rodríguez Romero¹, Carlota Sáenz de Tejada Granados², Rocío Santo-Tomás Muro3 1, 2, 3 Departamento de Arquitectura y Diseño. Universidad CEU San Pablo. Escuela Politécnica Superior, Campus de Montepríncipe. 28668 Boadilla del Monte, Madrid. E-mail: rodrom@ceu.es, carlota.saenztejada@ceu.es, rocio.santotomasmuro@beca.ceu.es Keywords: landscape history, proximity landscape, city iconography, sense of place, Madrid Conference topics and scale: Urban green space The image that a city offers when approaching it, depending on its topographical situation, the drawing of its borders or its urban form, generates a perceptive construction, for both locals and tourists, with the potential to become an iconic image and therefore play a part in the collective imagery. The character and value of those landscapes is largely determined by their green spaces, preserved in most European cities for their ecological or historical significance. Being able to recognize the worthiness of these proximity visions, in the context of today’s growing cities, is of fundamental relevance in order to enhance the sense of place, amongst other community values. In this communication we study the above-mentioned aspects in the image of the city of Madrid, within the framework of the project ‘Proximity landscapes of the city of Madrid. From the 19thC to the present’ currently in process. Through a landscape analysis of a selection of iconographic representations of the surroundings of the city, we draw special attention to the presence of historical green spaces throughout time, and its relation with architectural landmarks in the progressive construction of an iconic image of the city. From here, we can deduce the relevance that these elements have in the generation of a recognizable character and the decisive role of protection mechanisms in order to preserve it. References Lasso de la Vega, M. (2007) Quintas de recreo. Las casas de campo de la aristocracia alrededor de Madrid, 2Vol. (Madrid City Council, Madrid) Martínez, A. (2008). El entorno urbano del Palacio Real de Madrid entre 1735 y 1885 (Madrid City Council, Madrid). Ortega, J., Martínez, A. & Martín, F.J. (2008) Entre los Puentes del Rey y de Segovia. Secuencias gráficas del río Manzanares (Madrid City Council, Madrid). Ramón-Laca, L., Tardío, F.J. (2005) ‘Vegetal products used in Madrid between the 14th and 19thC, Asclepio (LVII-2, 25-44. Wester-Heber, M. (2004) ‘Underlying concerns in land-use conflicts-the role of place identity in risk perception’, Environmental Science & Policy, 7, 109-116.
9
Palestini, Caterina, and Carlos Cacciavillani. "Integrazioni multidisciplinari: storia, rilievo e rappresentazioni del castello di Palmariggi in Terra d’Otranto." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11358.
Повний текст джерелаАнотація:
Multidisciplinary integrations: history, survey and representations of the castle of Palmariggi in Terra d’OtrantoThe contribution integrates historical readings, conducted through archive documents and iconographic materials, with surveys and graphical analyzes carried out through direct knowledge of Palmariggi’s historic center in Salento. The imposing Aragonese castle of which today only the two cylindrical towers remain, joined together by a stretch of perimeter masonry, initially presented a quadrangular plan with four corner towers, of which three are cylindrical and one is square and was surrounded by an existing moat, until the middle of the twentieth century, with a wooden drawbridge on the eastern side. The fortress was part of a strategic defensive system, designed to protect the village and the productive Otranto’s land with which it was related. The fortified Palmeriggi’s center represented an important defensive bulwark placed within the network of routes and agricultural activities that led from the hinterland to the port of Otranto, where flourishing trade took place. The research examines the changes undergone by the defensive structure that has had several adaptations made initially in relation to changing military requirements, resulting from the use of firearms, the upgrades that were supposed to curb the repeated looting and the military reprisals against the inhabited coastal and inland centers of Salento peninsula, and later social that led to the expansion of fortified village with Palazzo Vernazza’s (eighteenth century) adjacent construction and the original parade ground’s elimination. Summing up, the contribution in addition to documenting the current situation with integrated surveys, the state of preservation of fortified structure with its village, of which it examines the urban evolution based on the construction, typological and morphological systems, relates to the surrounding territory by comparing the plant of the ancient nucleus with that of neighboring fortified Salento’s centers. Finally, digital study models allow fortified structure’s three-dimensional analysis, its construction techniques, assuming the original shape.
10
Talha Farooqi, Abu, and Sourav Banerjea. "Visual Culture, Disciplinary Engagement and Drawing: Pedagogical Possibilities for an Indian Way of Architectural Thinking." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.33.
Повний текст джерелаАнотація:
Architectural thinking and design process have always been dependent upon the representational medium and language of architecture – conventional drawings, diagramming, models, and iconography, to name a few. As a result of technological advancement (therefore possibilities) and socio-economic change, representation techniques have evolved, from conventional processes to ‘augment-ed reality’. Representation techniques and means in the production of architecture are critical to cover the conceptual range in which architecture can be created. This paper places this issue within the larger heterogeneous culture comprising technological, social, eco-nomic aspects and aims to unravel the conceptual underpinnings of the existing architectural thinking, representational culture in India. It examines ‘drawing’ as a convincing and disciplinary medium of language and representation and steers towards a ‘representation-al maxim’ between technology and value, discipline and consumption, tradition and modernity in the context of architectural thinking process in India.The forces of capitalism, globalization, consumer culture, celebrity and media culture, visual culture, technocracy have been instrumental in creating reality-based representational systems, which are reluctant to engage with the discipline of architecture and think beyond it. Steenson1 remarks about Augmented Reality “A novel form of spatial representation, which substitutes for the actual experience”. With access to augmented reality technology, the client no longer has to interpret the traditional plans, section and elevations, nor look into printed photomontage or virtual walkthroughs. He will be able to stand in his yet to come living room, go, on foot, from there to the kitchen, visit the bedrooms and, by doing so, get an ‘augmented’ experience of those spaces. Software is the agent of consumption, and it is only in the architectural process (thinking & delving), that this consumptive culture subsides, notwithstanding the fact that, for many architects and students, software and technology are steadily and consciously becoming ‘ends’ rather than ‘means’ in the design process.