Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Iconographic representations.
Статті в журналах з теми "Iconographic representations"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження 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.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
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.
11
ANGHELESCU, Gheorghe F., and Ionuț CHIRCALAN. "A BRIEF PRESENTATION OF THE ARGUMENTS IN FAVOR OF THE VENERATION OF ICONS IN THE FIRST ICONOCLASM." Icoana Credintei 9, no. 17 (January 24, 2023): 81–88. http://dx.doi.org/10.26520/icoana.2023.17.9.81-88.
Повний текст джерелаАнотація:
Icons became an increasingly familiar presence to Christians, especially with the spread of the faith outside the Jewish space, more restrained from iconographic representations, although assiduously honoring the revealed scriptural text, as well as the temple adorned with figurative images and religious representations. However, in the 8th and 9th centuries they would be exposed to a fierce reevaluation, through the Byzantine iconoclasm, 726-780, 815-842. The Church would confirm, in the end, both the importance of iconography and the veneration of the icons, arguing it on the bases of Christ incarnation and on the antiquity of the tradition. There were still less emphasised the fact that God is sharing His all-blessing-grace and reveals Himselves through the icons.
12
Salvador González, José María. "Iconography of the Dormition of the Virgin in the 10 th to 12 th Centuries." Eikon / Imago 6, no. 1 (June 11, 2017): 185–230. http://dx.doi.org/10.5209/eiko.73557.
Повний текст джерелаАнотація:
This article seeks to highlight whether and to what extent the medieval iconography of the Dormition of the Virgin reflects the central or peripheral details of three apocryphal texts whose authors are Pseudo-John the Theologian, Archbishop John of Thessaloniki and Pseudo-Joseph of Arimathea. To do this, we will put in direct relation the narrative details of these three apocryphal legends with the characters, gestures, actions and circumstances set forth in the Byzantine and Western representations of this iconographic motif over the 10 th -12 th centuries.
13
Bilić, Tomislav. "The swan chariot of a solar deity: Greek narratives and prehistoric iconography." Documenta Praehistorica 43 (December 30, 2016): 445–66. http://dx.doi.org/10.4312/dp.43.23.
Повний текст джерелаАнотація:
Literary testimonies for the Greek concept of Apollo’s swan chariot and the accompanying set of ideas were often discussed alongside some comparable Central and North European iconographic representations. This study approaches the problem by collating, with a help of structural analysis, a number of highly specific complex prehistoric iconographic arrangements (most notably the Dupljaja chariot), which suggest a similar concept was indeed current in the tradition of some European pre-literate societies. The principles employed here in the iconographic analysis of complex symbolic structures, offered a sound methodological basis for comparing literary with iconographic sources. It is concluded that their underlying muthos represents an account of the annual solar movement in terms of anthropomorphic causation.
14
Rupiewicz, Romana. "Pontius Pilate as a Late Antiquity and Early Medieval Judge – Iconographic Representations." Studia Prawnicze KUL, no. 4 (December 31, 2019): 157–93. http://dx.doi.org/10.31743/sp.10613.
Повний текст джерелаАнотація:
The image of a judge in Late Antiquity is shrouded in mystery as visual artefacts depicting court proceedings are scarce. Early Christian sarcophagi and miniatures adorning early manuscripts help in researching this topic. Illustrations of the trial of Jesus found there fully represent jurisprudence of the 4th and 5th century. Western artists had no knowledge of the hearing held at the beginning of the first century in Jerusalem, in a Roman province, hence they recreated what they knew from experience. The pictures presenting the trial of Jesus are probably the most important iconographic evidence of court proceedings in which a judge and an accused stand facing each other. Based on the iconography analysed, we can see that certain elements are recurrent. They include a curule seat, crossed legs of the judge, a laurel wreath, a table, presence of other persons wearing soldiers’ uniforms and clerks, whose role was probably that of a record taker. The image of Pilate in Late Antiquity is, in fact, a representation of early court scenes.
15
Giersz, Miłosz, and Patrycja Prządka-Giersz. "Variabilidad y personalidad iconográfica de las deidades antropomorfas mochica: una aproximación estadística." Estudios Latinoamericanos 25 (December 31, 2005): 219–42. http://dx.doi.org/10.36447/estudios2005.v25.art9.
Повний текст джерелаАнотація:
The article was originally published without abstract. Short description by editorial team:
The article debates the statistics of iconographic diversity and figures in anthropomorphic representations of Moche deities. Important hypotheses on Moche art were suggested before by Christopher Donnan, who argued that Moche iconography is based on a very strict cultural code – every element is carefully planned and was meaningful. This was opposed by Krzysztof Makowski. The aim of this research was to test these ideas using statistical analyses of set ceramics (figurative depictions). The results suggest that Moche iconography does not follow a strict code. While a few elements or attributes clearly relate with certain persons or deities, there is a great number of other elements that do not show such relations.
16
Zivkovic, Milos, and Ljubomir Milanovic. "Revisiting the Veljusa frescoes: Notes on the iconographic program of the south parekklesion." Zbornik radova Vizantoloskog instituta, no. 60-2 (2023): 1111–46. http://dx.doi.org/10.2298/zrvi2360111z.
Повний текст джерелаАнотація:
The paper discusses the iconographic program of the frescoes in the south parekklesion of the Church of the Virgin Eleousa at the Veljusa Monastery, the foundation of Manuel, Bishop of Strumitza, built in 1080. It focuses on the figure of St. Niphon or, more specifically, the cult and iconography of this saint, whose representations in art are quite uncommon. It considers several images of St. Niphon in Serbian medieval painting that previous research has failed to take into account. Then, it reexamines the view that this saint was the patron of the chapel, especially the claim that one of his visions was painted in the apse.
17
Bykovskaya, Aleksandra Viktorovna. "The image of goddess on the throne in the Bosporan coroplast of the archaic and classical periods (VI – IV centuries BC): iconography and sacred meaning." Исторический журнал: научные исследования, no. 3 (March 2021): 36–57. http://dx.doi.org/10.7256/2454-0609.2021.3.35727.
Повний текст джерелаАнотація:
This article explores the peculiarities of application of compositional pattern of the enthroned goddess in the coroplast of the European part of Bosporus. A number of figurines of the East Crimean Historical and Cultural Museum-Reserve of such iconography is published for the first time, including the discarded coroplast products dating back to the IV century BC. The article reviews the emergence of iconography, its origins in the Neolithic cultures of Anatolia, and proliferation. The following sections are dedicated to the analysis of Bosporan terracotta of the enthroned goddess of the archaic and classical periods. The research methodology employs iconographic and semantic analysis, which implies the interpretation of religious representations reflected in the image of deity. A peculiarity Bosporan coroplast lies in popularity of the composition of enthroned goddess from the archaic period, which indicates a special role of the high status goddesses with a variety of features, such as Demeter, Aphrodite, Artemis, and Hecate in the beliefs of Bosporans. Terracotta complexes of the classical period demonstrate diversity of this iconographic type, as well as mark the emergence of characteristic attributes that allow identifying the image of deity. Coroplast data testify to the growing popularity of the goddess of Phrygian origin Cybele in the IV century BC. A hypothesis is advanced on the existence of a prototype of the number of figurines – the local cult statue of Cybele.
18
Clancy, Flora S. "The Classic Maya Ceremonial Bar." Anales del Instituto de Investigaciones Estéticas 16, no. 65 (August 6, 1994): 7. http://dx.doi.org/10.22201/iie.18703062e.1994.65.1709.
Повний текст джерелаАнотація:
The basic varieties of the Classic Maya ceremonial bar are described; its formal histories outlined; and its iconographic potentials are delimited. The significant gestures used to hold the bar are traced, along with the bar, to the Middle Preclassic Olmec culture. With this genealogy, with regional differences in Classic representations, and in certain iconographic reflections, the Classic cermonial bar is shown to represent a kind of allegory through which various “origin stories” were anciently told and interpreted to explain, thus to rationalize, royal power and action.
19
Schofield, L., and R. B. Parkinson. "Of helmets and heretics: a possible Egyptian representation of Mycenaean warriors on a papyrus from el-Amarna." Annual of the British School at Athens 89 (November 1994): 157–70. http://dx.doi.org/10.1017/s0068245400015343.
Повний текст джерелаАнотація:
This paper examines the representation of soldiers on a painted papyrus from el-Amarna, recently acquired by the British Museum (EA 74100). Features include helmets and short-cropped oxhide tunics; these can be paralleled in representations from the Aegean, suggesting that the painting may show figures wearing boar's tusk helmets and Mycenaean-style tunics. This interpretation of the battle scene argues that the Egyptian iconographic repertoire included depictions of Mycenean features. This adds to the evidence for direct, rather than indirect, contacts between the two cultures.
20
Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–18. http://dx.doi.org/10.1145/3458885.
Повний текст джерелаАнотація:
Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may support iconography research and education. In this article, we introduce a novel paintings dataset for iconography classification and present the quantitative and qualitative results of applying a Convolutional Neural Network ( CNN ) classifier to the recognition of the iconography of artworks. The proposed classifier achieves good performances (71.17% Precision, 70.89% Recall, 70.25% F1-Score, and 72.73% Average Precision) in the task of identifying saints in Christian religious paintings, a task made difficult by the presence of classes with very similar visual features. Qualitative analysis of the results shows that the CNN focuses on the traditional iconic motifs that characterize the representation of each saint and exploits such hints to attain correct identification. The ultimate goal of our work is to enable the automatic extraction, decomposition, and comparison of iconography elements to support iconographic studies and automatic artwork annotation.
21
Kluczek, Agata A. "Faces of Aeneas. Representations on Roman Coins and Medallions." Studia Ceranea 6 (December 30, 2016): 295–321. http://dx.doi.org/10.18778/2084-140x.06.16.
Повний текст джерелаАнотація:
On the basis of numismatic material I present aspects of the figure of Aeneas as they appear in ancient tradition. I have concentrated on the iconographic details and the arrangement of the reverse scenes which allow one to isolate the elements of Aeneas’s portrait in the coinage that are closely associated with his role as the one who, by carrying over the sacra to Italy, made way for the foundation and continuation of Rome.
22
Aliferis, Laurence Terrier. "Joseph christophore dans la Fuite en Egypte: transmission d’un schéma iconographique spécifique à travers le Moyen Age." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 164–92. http://dx.doi.org/10.1515/zkg-2016-0016.
Повний текст джерелаАнотація:
Abstract In the vast majority of representations of the Flight into Egypt, the child is huddled upon the Virgin’s lap or held in her arms. In addition to this traditional model, some interpretations of the Flight into Egypt show the child riding on Joseph’s shoulders or being held in his arms. The inventory of the representation of Joseph christophore from the fifth century to the mid-fifteenth century in Latin and Greek Christendom provides an insight into the frequency of this iconographic specificity of the Flight into Egypt, its diffusion and regional adaptations, as well as its meanings, via theological and exegetical texts.
23
Rosell, Pablo M. "Workers in Perpetuity? Notes about the mrt Workers of the Egyptian Middle Kingdom Based on the Stela CG 20516." Trabajos de Egiptología. Papers on Ancient Egypt, no. 9 (2018): 171–85. http://dx.doi.org/10.25145/j.tde.2018.09.07.
Повний текст джерелаАнотація:
This paper aims to study a social group of Egyptian people called mrt workers, based on their representation in epigraphic, funerary and literary sources dating to the Middle Kingdom. The stela CG 20516 is especially important for our research since it shows one of the few iconographic representations of these mrt workers. This stela is essential since it shows the mrt workers performing their tasks and serving their deceased owner in an exceptional way. Such representation suggests a personal link in perpetuity between these workers and their masters. Therefore, the mrt workers’ social and legal status is reconsidered by studying whether they were forced to work periodically or were dependent workers in perpetuity.
24
Taube, Karl A. "The Maize Tamale in Classic Maya Diet, Epigraphy, and Art." American Antiquity 54, no. 1 (January 1989): 31–51. http://dx.doi.org/10.2307/281330.
Повний текст джерелаАнотація:
Iconographic, epigraphic, and linguistic data provide new evidence that the tamale constituted the primary maize food of Classic Maya diet. Archaeological and ethnohistoric data pertaining to the tamale and tortilla are reviewed and discussed in terms of the widespread representation of the tamale in Classic Maya epigraphy and art. Iconographic forms of the tamale are isolated and compared with hieroglyphic signs. Glyphs T:14, 39, 86, 130, 135, 506, 507, 754, 577, 584, and 739 are identified as representations of the tamale. Affix T130 contains either of two tamale types, both possessing the phonetic value wa or wah in the ancient script. This syllable provides readings for the Postclassic water group, the action of standing, and an unusual emblem glyph possibly referring to a supernatural region. In addition, the two tamale forms of T130 provide partial readings for the Classic terms for the numbers six, eight, and the name glyph of God N. It is suggested that the tamale constituted an important offering in Classic ritual, and is a principal subject of 819-day cycle texts.
25
Mech, Anna. "Reading social relations from Roman African mosaics – an iconographic analyse." Studia Europaea Gnesnensia, no. 16 (December 15, 2017): 155–71. http://dx.doi.org/10.14746/seg.2017.16.9.
Повний текст джерелаАнотація:
The paper presents the diversity of Roman African society and the relations between different social groups by analysing the representations on the mosaics. It also analyses the manner of self-presentation of the landowners and their wives.
26
Hirata, Marisa Correia. "Iconography and nursing – why and how?" Online Brazilian Journal of Nursing 2, no. 2 (June 20, 2004): 16–19. http://dx.doi.org/10.17665/1676-4285.20034834.
Повний текст джерелаАнотація:
This article presents the iconography as a source of research for the nursing history and shows that the act of studying artworks is relevant because they contain collective mental representations. When an art piece pictures healthcare, it will provide us with clues on care activity and also on how, where, and who is practicing it. The author exemplifies and comments on moments of iconographic analysis that is the methodology used to reveal the intrinsic and profound meaning of art works considered, in turn, a society’s depository of beliefs and ideas. Finally, the author emphasizes the pleasant meeting of nursing and art, placing into perspective the importance of care as the basis for the nurse’s professional identity, and looks forward into a future in which nurses can be social, economically, and juridical recognized.
27
Grund, Angelika. "ICONCLASS. On subject analysis of iconographic representations of works of art." KNOWLEDGE ORGANIZATION 20, no. 1 (1993): 20–29. http://dx.doi.org/10.5771/0943-7444-1993-1-20.
Повний текст джерела
28
Kluczek, Agata A. "Dea Segetia on Reverse of Coins of Empress Salonina." Journal of the Belarusian State University. History, no. 4 (December 26, 2018): 64–74. http://dx.doi.org/10.33581/2520-6338-2018-4-64-74.
Повний текст джерелаАнотація:
The Ancient Romans knew a deity named Segesta and Segetia. In Gallia there was a cult of dea Segeta. A link between them in the contemporary interpretations became the antonimniani of DEAE SEGETIAE type issues under Valerian and Gallienus for empress Salonina (258–260 AD). According to some researchers, the figure on its reverses is Segesta/Segetia, a deity worshipped in Rome itself. Others suggest that dea Segeta, originates from Gallia. The advocates of both these views notice, however, that the only certain representation of this deity – known by name in the monetary legend – is her image in the coin iconography. Dea Segetia represented on the coins as a syncretic figure which possessed broad competences, all the more so that it received a very comprehensive iconographic form. The article is an overview of various interpretations put on the contents of aurei and antoniniani of DEAE SEGETIAE type, emitted for Salonina Augusta, the wife of the Roman Emperor Gallienus (253–268). Except for this case, the name of Segetia does not appear anywhere else in the imperial coinage while the image of the goddess on these coins combines several features more frequently found in the representations of other deities.
29
Kramer, IJsbrand M., Hassen-Reda Dahmani, Pamina Delouche, Marissa Bidabe, and Patricia Schneeberger. "Education Catching Up with Science: Preparing Students for Three-Dimensional Literacy in Cell Biology." CBE—Life Sciences Education 11, no. 4 (December 2012): 437–47. http://dx.doi.org/10.1187/cbe.12-06-0091.
Повний текст джерелаАнотація:
The large number of experimentally determined molecular structures has led to the development of a new semiotic system in the life sciences, with increasing use of accurate molecular representations. To determine how this change impacts students’ learning, we incorporated image tests into our introductory cell biology course. Groups of students used a single text dealing with signal transduction, which was supplemented with images made in one of three iconographic styles. Typically, we employed realistic renderings, using computer-generated Protein Data Bank (PDB) structures; realistic-schematic renderings, using shapes inspired by PDB structures; or schematic renderings, using simple geometric shapes to represent cellular components. The control group received a list of keywords. When students were asked to draw and describe the process in their own style and to reply to multiple-choice questions, the three iconographic approaches equally improved the overall outcome of the tests (relative to keywords). Students found the three approaches equally useful but, when asked to select a preferred style, they largely favored a realistic-schematic style. When students were asked to annotate “raw” realistic images, both keywords and schematic representations failed to prepare them for this task. We conclude that supplementary images facilitate the comprehension process and despite their visual clutter, realistic representations do not hinder learning in an introductory course.
30
Mével, Yann. "Beckett et le devenir du paysage." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 143–54. http://dx.doi.org/10.1163/18757405-020001012.
Повний текст джерелаАнотація:
This article aims to show how the Beckettian imagery shatters the features of the romantic landscape. Backing up our analysis with Michel Collot's research into the literary and iconographic representations of the landscape, we bring out some significant characterictics of this evolution, in spite of the lasting fascination for flora in Beckett's works.
31
Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art." Synthesis 25, no. 2 (December 31, 2018): e042. http://dx.doi.org/10.24215/1851779xe042.
Повний текст джерелаАнотація:
In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather than appearing as an example of infinite toil and excess in the manner of earlier literary and iconographic representations, Heracles is presented in the Classical period as a model of virtue and self-restraint and a symbol of the triumph of merit over adversity and divine persecution.
32
Krevchenko, Elena Viktorovna. "The symbolism of mappae mundi: genesis and evolution of historical images." Культура и искусство, no. 1 (January 2020): 43–55. http://dx.doi.org/10.7256/2454-0625.2020.1.30247.
Повний текст джерелаАнотація:
The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.
33
Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)." Zograf, no. 38 (2014): 123–41. http://dx.doi.org/10.2298/zog1438123t.
Повний текст джерелаАнотація:
This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the representations of the deceased Saviour and Christ the Great Archpriest - are compared to various liturgical sources and visual analogies (monumetal painting and liturgical textiles) in the medieval art of Serbia and Byzantium.
34
Kasprzycka, Katarzyna. "Reconstruction of the bases of sandstone sphinxes from the Temple of Hatshepsut at Deir el-Bahari." Fieldwork and Research, no. 28.2 (December 28, 2019): 359–87. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.20.
Повний текст джерелаАнотація:
The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that reflects changes in art introduced in the times of Hatshepsut. The representations on the bases of the royal sandstone sphinxes from the queen’s temple include, among others, rekhyt birds, pat-people and “enemies of Egypt”. They take on a form that departs from that known from other sphinx sculptures.
35
GÖTTLICHER, ARVID. "Aspects of Everyday Life in Ancient Cyprus: iconographic representations - By Vassos Karageorghis." International Journal of Nautical Archaeology 39, no. 2 (August 3, 2010): 446. http://dx.doi.org/10.1111/j.1095-9270.2010.00290_1.x.
Повний текст джерела
36
Maiden, Brett. "Counterintuitive Demons: Pazuzu and Lamaštu in Iconography, Text, and Cognition." Journal of Ancient Near Eastern Religions 18, no. 1 (May 24, 2018): 86–110. http://dx.doi.org/10.1163/15692124-12341295.
Повний текст джерелаАнотація:
Abstract This paper examines the demons Pazuzu and Lamaštu from a cognitive science perspective. As hybrid creatures, the iconography of these demons combines an array of anthropomorphic and zoomorphic properties, and is therefore marked by a high degree of conceptual complexity. In a technical sense, they are what cognitive researchers refer to as radically “counterintuitive” representations. However, highly complex religious concepts are difficult in terms of cognitive processing, memory, and transmission, and, as a result, are prone to being spontaneously simplified in structure. Accordingly, there is reason to expect that the material images of Pazuzu and Lamaštu differed from the corresponding mental images of these demons. Specifically, it is argued here that in ancient cognition and memory, the demons would have been represented in a more cognitively optimal manner. This hypothesis is further supported by a detailed consideration of the full repertoire of iconographic and textual sources.
37
Bochnak, Anna. "Drohiczyn-type Small Lead Seals with the Image of a Bird from the Collection of the National Museum in Krakow. Old Ruthenian Sigillography Versus Early Piast Numismatics / Plomby typu drohiczyńskiego z wyobrażeniem ptaka w kolekcji Muzeum Narodowego w Krakowie. Staroruska sfragistyka versus wczesnopiastowska numizmatyka." Notae Numismaticae - Zapiski Numizmatyczne, no. 16 (May 20, 2022): 225–42. http://dx.doi.org/10.52800/ajst.1.16.a10.
Повний текст джерелаАнотація:
The rich collection of the Numismatic Cabinet of the National Museum in Krakow (MNK) includes special sigillographic artefacts, i.e. Drohiczyn-type small lead seals. The collection contains specimens with various iconographic representations, including small seals with images of birds. Similar small seals are known from archaeological excavations conducted in Mazovia. Interestingly, some images impressed on the small seals have analogies with representations on Piast coins from the 12th and 13th century. It is highly likely that the small seals with images of birds are local issues from Mazovia. This is indicated by a characteristic type of bird representations, most probably eagles. This would mean that they were an adaptation of the Ruthenian idea of using small lead seals but with local Piast symbols.
38
Bradshaw, Hannah. "‘She will wear the britsch’: Masculinity and the iconography of Prince Albert." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 199–222. http://dx.doi.org/10.1386/csmf_00025_1.
Повний текст джерелаАнотація:
This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.
39
Murovec, Barbara. "Iconography of Kinship. The Holy Family and Attems Family in the Holy Virgin’ s Church at Zagorje near Pilštanj." Radovi Instituta za povijest umjetnosti, no. 45 (December 31, 2021): 105–18. http://dx.doi.org/10.31664/ripu.2021.45.08.
Повний текст джерелаАнотація:
Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of the Habsburg family.
40
Chinchilla Mazariegos, Oswaldo. "HUMAN SACRIFICE AND DIVINE NOURISHMENT IN MESOAMERICA: THE ICONOGRAPHY OF CACAO ON THE PACIFIC COAST OF GUATEMALA." Ancient Mesoamerica 27, no. 2 (2016): 361–75. http://dx.doi.org/10.1017/s0956536116000201.
Повний текст джерелаАнотація:
AbstractThis article explores the sacrificial symbolism of cacao (Theobroma sp.) on the Pacific coast of Guatemala, manifest in the iconography of ceramic objects and stone sculptures from the Classic period, in textual references from the colonial period, and in contemporary ethnographic data from the southern highlands. The iconographic and textual metaphors contained in these sources linked cacao pods with dead warriors, captives, and sacrificial victims. As interpreted in this article, the harvest of cacao was equated with the acquisition of sacrificial victims, and both were conceived as precious sources of nourishment for the gods. Changes in artistic representations are discernible from Early Classic Teotihuacan-style censers to Early Postclassic Plumbate ceramic effigies. Cacao and other fruits from the Pacific coastal piedmont are still related to the symbolism of war and sacrifice in contemporary rituals from the Tz'utujil town of Santiago Atitlán. Data from southern Guatemala may be relevant to understand the sacrificial symbolism of cacao throughout Mesoamerica.
41
Marchlewicz, Krzysztof. "Kresy w programie politycznym księcia Adama Jerzego Czartoryskiego na emigracji. Przyczynek ikonograficzny." Prace Historyczne 150, no. 1 (September 30, 2023): 77–89. http://dx.doi.org/10.4467/20844069ph.23.006.17943.
Повний текст джерелаАнотація:
Polish Eastern Borderlands in prince Adam Jerzy Czartoryski’s political program in exile: An iconographic contribution The article is a contribution to the reflection on the place of the Eastern Borderlands of the Polish-Lithuanian Commonwealth in the political program of Prince Adam Jerzy Czartoryski and his followers after 1831. This program was expressed and implemented in various ways, and its addressees were both the Poles and the public opinion of Western Europe. Without trying to present the whole issue, three iconographic representations that contained elements of this program were analyzed here. What they had in common was that all of them were to honor the closest British ally of Prince Adam – Lord Dudley Coutts Stuart (1803–1854). In 1846 he received a decorative tapestry from Polish emigrants, in 1847 a golden watch, and after his death a medal made by J.F.A. Bovy was minted in his honor. The heraldic and cartographic motifs adorning theses items indicate that Prince Adam and his associates saw the future of the Eastern Borderlands in connection with the rebirth of Poland. These representations were a persuasive message addressed to Polish and foreign audiences, the purpose of which was to convince them of the importance of this issue in Czartoryski’s plan for the restitution of the Polish state.
42
Mantas, Apostolos. "Representations of Christ’s parables in Serbian medieval churches: The case of Decani." Zograf, no. 36 (2012): 131–41. http://dx.doi.org/10.2298/zog1236131m.
Повний текст джерелаАнотація:
The article examines the six parables included in the painted decoration of the Monastery of Decani. The soteriological and eschatological content of the four parables depicted in the parecclesion of Saint Nicholas leads to the conclusion that it was most likely used for memorial services, however its use cannot be specified. The choice of these particular allegorical stories is due to their liturgical importance in the Sabaitic Typikon, which was adopted by the Serbian Church since the early fourteenth century. During this period parables in general are beginning to be included in the iconographic program of Serbian, for the most part, churches.
43
Zivkovic, Milos. "Depictions of St. Mark of Ephesus in post-Byzantine art." Zbornik radova Vizantoloskog instituta, no. 57 (2020): 143–74. http://dx.doi.org/10.2298/zrvi2057143z.
Повний текст джерелаАнотація:
The paper discusses the visual representations of St. Mark of Ephesus, under-researched in previous scholarship, which have survived in several monuments of post-Byzantine wall painting in the Balkans. These depictions are analyzed as visual testimonies of the veneration of Mark of Ephesus in the period under consideration, i.e. as important indicators of the presence, continuity and dissemination of his cult a long time before his official canonization in the 18th century. The paper also offers an overview of the different iconographic versions of the images of St. Mark of Ephesus. Finally, it examines the possible reasons for the emergence of images representing this famed anti-Unionist metropolitan in the discussed monuments. In this context, the images of Mark of Ephesus are considered through the prism of their placement in a given iconographic program; wherever possible, the role of the ktetor and artist in their creation is examined.
44
Taracha, Piotr. "The Iconographic Program of the Sculptures of Alacahöyük." Journal of Ancient Near Eastern Religions 11, no. 2 (2011): 132–47. http://dx.doi.org/10.1163/156921211x603922.
Повний текст джерелаАнотація:
Abstract The iconographic program of the sculptured friezes flanking the Sphinx Gate of Alacahöyük is analyzed based on numerous representations in Hittite art that may contribute to the understanding of the context and meaning of these carvings. It is argued that the cult and hunting scenes reflect the concept of the main triad of the Hittite state pantheon—Sun-goddess, Storm-god and Tutelary God, combining it with the new ideology of kingship of the later phase of the Empire period, which stresses the special ties between the king and the Tutelary God of the Countryside. Simultaneously, the lower frieze on the West Tower depicts the royal couple officiating at a cult ceremony presumably during a real local festival. Concerning the identification of Alacahöyük with one of Hittite holy towns, Arinna appears the best candidate. In fact, texts relating to the cult from Arinna enable us to interpret the Alacahöyük sculptures. These sculptures might represent the celebrations during the Great Festival in Arinna, which—as we know from the texts—was attended by the royal couple. There are historical and cultural arguments for dating the Sphinx Gate complex with its sculptures to the second half of the 13th century BC.
45
Matyjaszkiewicz, Ika. "The Robe of Corporeality: Sensual Aspects of Medieval Representations of Crucified Christ in the Tunica Manicata." Ikonotheka, no. 29 (September 16, 2020): 35–50. http://dx.doi.org/10.31338/2657-6015ik.29.8.
Повний текст джерелаАнотація:
This paper explores the iconography of the Volto Santo – a crucifix worshiped at the cathedral of Lucca, Italy, and the reception of this iconographic type in the medieval art. The aim is to investigate the role of robes covering the body of crucified Christ in the scenes of the Passion. First of all, the origins and meaning of different Christ’s garments are discussed in relation to the debates on the nature of Christ and around the Eucharist. Still, as the Volto Santo is usually dated to the 12th century and it presents Christ in the tunica manicata with the cingulum, which can be identified as a clerical costume, the meaning of Christ’s garments in the context of the Gregorian Reform, celibacy, and the concept of the third gender is also presented. Afterwards the practices of dressing the Volto Santo in the ceremonial vestments as a manifestation of its worship are analyzed. These vestments along with the altar, where the Volto Santo was presented to the faithful, are the most important elements of the iconography of the representations of the Volto Santo in the mural paintings. What draws attention in these images is the ambiguous position of Christ nailed to the cross and standing on the altar at the same time. That produces ambivalent sensual experience: the impression of uncourting Christ turns into a recognition of the particular cult object and vice versa. Moreover, the robe covering the body contributes to a fluid gender identity of the figure. It may be concluded that the robes of the crucified Christ play several roles: they cover the suffered body, they are an attribute of the ruler or priest, but above all, they manifest Christ’s corporality. The faithful confronted with these images found his or her somatic identity with Christ.
46
Kvlividze, Nina V. "AKATHIST CYCLE IN THE ALTAR PAINTING OF THE MARKOV MONASTERY." Studia Religiosa Rossica: Russian Journal of Religion, no. 3 (2023): 50–71. http://dx.doi.org/10.28995/2658-4158-2023-3-50-71.
Повний текст джерелаАнотація:
The author analyzed the iconography of the fresco cycle of the Akathist to the Mother of God of the 14th century from Markov Monastery in Macedonia and its connection with liturgical theology. Location of the hymn illustrations above the symbolic scene of the Divine Liturgy differs from numerous similar cycles in monumental ensembles of the 14th century. Illustrations of Akathist Hymn known since the end of the 13th century, and the Divine Liturgy which became widespread in the Paleologian era in the monuments of Serbia are presented in the painting of the Markov Monastery in visual comparison. The meaning of this painting programme allows to understand the work of the Byzantine theologian of the second half of the 14th century Nicholas Kavasila, dedicated to the interpretation of the liturgy. Without insisting on the direct influence of Byzantine texts on the iconographic programme of the frescoes, it can be argued that the general ideas of hesychasm typical to Byzantine and Slavic theologians and painters of this time were the source of new visual interpretations that offered imagery representations of the history of human salvation. Iconography of the illustrations of the Akathist Hymn, the Great Entrance and Proskomidia in the context of the symbolic and historical interpretation of the liturgy were researched.
47
Karaulashvili, Irma. "Abgar Legend: Text and Iconography." Kadmos 6 (2014): 95–240. http://dx.doi.org/10.32859/kadmos/6/95-240.
Повний текст джерелаАнотація:
The present paper continues to explore the interrelation of texts and images pertaining to the Edessan acheiropoietos image of Christ that I began to explore in my article “The Abgar Legend Illustrated: Interrelation of the Narrative Cycles and Iconography in the Byzantine, Georgian and Latin Traditions,” in Interactions: Artistic Interchange between the Eastern and Western Worlds in the Medieval Period. A Colloquium organized by the Index of Christian Art, Department of Art and Archeology, Princeton University, April 8-9, 2004. C. Hourihane, ed. Princeton & Pensylvania: University Press, 2007, 220-243. An attempt to interpret representation of the Mandylion on Deir al-Surini fresco (Egypt) in the light of representation of images of Christ/ Mandylia from the Georgian churches of Tsromi and Telovani, as well as the miniature from the Georgin Alaverdi Four Gospels, allowed me to conclude that before the tenth century a Syriac iconographic tradition depicting the Edessan image, different from its Byzantine counterpart, had existed. Moreover, their placement in the sanctuary, above the altar and the decorative details of the cloth on the Deir es-Suriani fresco allow us to speak about a “liturgical” mode of depiction of the Mandylion; that is to say, about the symbolical placement of the liturgical covering (i.e. the Cloth, or, in this case, as the tablecloth) above the altar with the bread of blessing (i.e. the image of Christ) on it. The scrutiny of various texts and images pertaining to the Mandylion led me to the conclusion that legends about the miraculous, or semi-miraculous emergence of acheiropoietos images came into being, most plausibly, in order to justify the mode of representations of the cult objects, as elements of the Byzantine church decoration – not only of the materials on which the image is depicted, that is to say, cloth and wood, but also the types of representations used in the church decoration, i.e. the icon and the fresco, and the mode of representing the images themselves, i.e., the face (reps. bust) and the full-length figure.
48
Hepp, Guy David, Sarah B. Barber, Jeffrey S. Brzezinski, Arthur A. Joyce, and Rachael L. Wedemeyer. "The Symbolism, Use, and Archaeological Context of Masks in Formative Period Coastal Oaxaca, Mexico." Cambridge Archaeological Journal 30, no. 2 (November 25, 2019): 257–74. http://dx.doi.org/10.1017/s0959774319000623.
Повний текст джерелаАнотація:
The production and use of masks at multiple scales and in diverse contexts is a millennia-long tradition in Mesoamerica. In this paper, we explore some implications of Mesoamerican masking practices in light of materiality studies and the archaeology of the senses. We also discuss a collection of 22 masks, miniature masks and representations of masks from the lower Río Verde valley of coastal Oaxaca, Mexico. The iconography of these artefacts as well as their recovery from well-documented archaeological contexts inform our interpretations of masking practices during an approximately 2000-year span of the Formative period (2000 bc–ad 250). Specifically, we argue that these masking-related artefacts index sociocultural changes in the region, from the first villages and the advent of ceramic technology during the Early Formative period (2000–1000 bc) to a time of increasing consolidation of iconographic influence in the hands of the elite in the final centuries before the Classic period. As indicated by their continued use today, masks have long been intimates of communal activities in Oaxaca.
49
Guernsey, Julia. "CAPTIVE REPRESENTATIONS AND SOCIAL DISCOURSE AT IZAPA AND IN LATE FORMATIVE SOUTHEASTERN MESOAMERICA." Ancient Mesoamerica 29, no. 2 (2018): 333–46. http://dx.doi.org/10.1017/s0956536118000093.
Повний текст джерелаАнотація:
AbstractThis paper takes Izapa Stela 21, with its vivid portrayal of captive sacrifice, as the point of departure for an analysis of the ways in which acts of aggression were portrayed in Late Formative monuments from a region that includes the Pacific slope and adjacent highlands of Mexico and Guatemala. It considers the social significance of themes of captive sacrifice and violence, and their role within a larger iconographic system designed to accommodate the mutually reinforcing ideas of ideology and coercive power. While clearly laden with implications of political control, subjugation, deference, and fealty, the imagery also alludes to agricultural fertility, the arrival of rain, and broader notions of social order.
50
da Silva, Rafael Souza, and Raphael Augusto Parreiras Gallegos. "The artistic and temporal representations of the tarot and social relationships through the crazy arcanum." MOJ Applied Bionics and Biomechanics 7, no. 1 (July 14, 2023): 113–19. http://dx.doi.org/10.15406/mojabb.2023.07.00183.
Повний текст джерелаАнотація:
The present work aims to understand the intrinsic connection between the Tarot card game, based mainly on its temporal artistic representations, and the relations of the social game. Starting from the point of iconographic and iconological research of the arcanum The Fool, we sought to correlate it with some historical clippings of Western society, in order to interpret it as an archetype and semiotic element within its archetypal perceptions and the actions of the human being in society. The aim was, then, to understand human narratives over the centuries through the prism of artistic representations of this game shrouded in mysteries as to its origin and its great – although contradictorily discreet – presence in different cultures and spiritual and analytical segments.