1асно }'е да иконографски и стилско-морфолошки аспекти нису иск^учиво зависили од иде)них и функционалних захтева ускла^ених с литурги)ском ском садржином и култном наменом источнохришЬанске цркве ...(Лазиъ 2016: 486), Beh и од истори'ских околности у ко)има су кNoиге штампане. Употребом ксилографске опреме Божидара Вуковиhа, махом изведене према обрасцима заступ^еним у рукописно) култури источнохришhанског круга, с )едне стране, и коришheNoeм нових клишеа са изрезбареним мотивима преузетим из западноевропског искуства, с друге, графичка опрема издагаа Виheнца Вуковиhа представка синтезу традиционалних и иновативних елемената, православне и католичке иконографи'е. Систем графичке опреме палеотипа Виheнца Вуковиhа изведене према старшим Божидаровим клишеима, у основи се темени на познатим елементима рукописне традици'е, прилаго^еним захтевима новог меди)а. У први план се истичу орнаментални мотиви геометри'ско-флоралног типа, ко)и преовла^у(у у компонован^ заставица и вигаета, док се у по)единим издагаима )ав^а)у и фигуралне представе отиснуте на цело) страни као фронтисписи. Осим орнаменталних и фигуралних мотива, од илустративног репертоара рукописних кNoига преузет )е и систем насловних плетеница и инициала, са преовла^у^им витичастим иници)алима карактеристичним за рукописе тога доба (Ракиъ 1999: 257-258). Западни утица)и су нарочито изражени у стилско-морфолошким аспектима прва два издагаа Виheнца Вуковиhа (Медаковиъ 1958: 143-145; Петковиъ 1994а: 37-39, 47) и огледа)у се у присуству орнаменталних оквира, непознатих не само издагаима Божидара Вуковиhа вeh и осталим српскословенским инкунабулама и палеотипима. За формираNoе орнаменталног оквира ко)и обруб^у)е текст Псалшира с йоследоваюем из 1546. године, Виheнцовог првог издагаа, примегаено )е осам сетова сачиNoених од четири одво)ена клишеа, чи)и су отисци понав^ани по одговара)уheм али не и сасвим доследно спроведеном редоследу. Клишеи коришheни за отискивагае бочних и горNoих страница оквира истих су мотива и нешто ужих димензи)а од оних коришheних за отискивагае доNoих, знатно ширих страница (Медаковиъ 1958: 143). Унутар виNoете у доNoем оквиру, уз помоh орнамента образована су три овална или четворолисна меда^она с допо)асним представама Христа, Богородице и других светих, док се у бочним вигаетама налазе симболи )еван^елиста. На по)единим оквирима изгравирани су исти мотиви орнамената али тако да )е )едан сет отиснут у позитиву - у црно) бо)и, док )е основа остала у бо)и папира - а други у негативу, где )е орнамент образован отискивагаем црне основе. Од укупно осам сетова оквира, само два изведена са орнаментом у позитиву нема)у сво)е паргааке у негативу. Осталих шест сетова оквира садрже три различите комбинаци)е орнаменталних мотива. Првом сету, где )е орнамент отиснут црном бо)ом, као паргаак одговара сет оквира с потпуно истим украсом али црном основом и орнаментом у бо)и папира. Исти приступ у штампарском поступку примегаен )е и у два преостала пара оквира. И поред ук^учиваша оквира као дела графичке опреме ренесансне кшиге, у стилско-морфолошком погледу орнаменталног украса Псалшира с йоследоваюем из 1546. године, сачишеног од стилизованих флоралних и геометри'ских мотива, нема потпуног раскида са источнохришБанском традициям. То се уочава и у иконографском и стилском третману фигуралних представа у меда^онима унутар доше вишете оквира. У меда^онима унутар вишета доше странице правоугаоних оквира смештене су по три фигуралне представе. У средишшим меда^онима налазе се Христос, Свети Jован Претеча, пророк Давид, Jован Златоуст, архан^ео Михаило, Богородица с Христом, као и неименовани свети, док су у бочним меда^онима приказани одговара)уБи свети, симболи ^'евангелиста и старозаветни пророци. Централни приказ Христа с раширеним и подигнутим рукама и затвореним кодексом у левици, допущу)у допо)асни ликови Богородице и Светог Jована, ко)и благо окренути ка Noему, формира)у Деизис (Сл. i). Представама Светог Jована Кефалофороса и архангела Михаила прик^учени су меда^они са симболима ^'евангелиста - лавом и орлом, односно биком и ангелом, док су кра) Светог Jована Златоустог допо)асни прикази дворце архи1ере)а. Иако су смештене унутар меда^она на оквира, ове представе упуБу)у на каижни украс ренесансних издаша, изузев пеф зажа приказаних у другом плану, ко)и у иконографском и стилском погледу готово не одступа;(у од источнохришБанске традици'е (Лазиъ 2016: 489). Изузев грба, за ч^'е отискиваше jT изгравиран нови клише, преостали орнаментални украс Псалшира с йоследоваюем ВиБенца БуковиБа из 1546. године изведен jT уз помоБ клишеа насле^ених од оца. Од укупно три одштампане заставице у кшизи, две су отиснуте с посщ'еБих клишеа, док je за 1'едну изранен нови. Прва од Noих понав^а заставицу у палеотипима Божидара БуковиБа из 1520. године - Служабнику и Псалширу с йоследоваюем - с тим што jT на том месту унутар штита изостав^ен гаегов карактеристични монограм „Бож . Друга заставица степеничастог облика (Сл. i) одштампана je у Молишвенику (Требнику), издан>у Божидара ВуковиВа с кра'а четврте децени1е XVI столеВа. За разлику од претходних, трепа заставица отиснута je с новог клишеа, изгравираног за потребе илустровагаа ВиВенцовог издагаа Псалшира с йоследоваюем. Потковичастог облика, са стилизованим лиснатим завршецима, ову заставицу чине уписани кружни меда^они са симболима ^'евангелиста, док се у гаеном поднож'у налази запис са именом ВиВенца ВуковиВа (Медаковиъ 1958: 144). У Псалширу с йоследоваюем из 1561. године, гаеговом последгаем потписаном издагау, осим изостав^агаа сета вигаета ко'е уоквиру'у текст, понав^а се орнаментални украс отиснут с веВ посто'еВих клишеа. Од кгаижног украса посебно се издва'а'у три заставице. Прва, сачигаена од преплета са три концентрична круга, садржи и монограм Божидара ВуковиВа, отиснут с новог додатка клишеу, док jV друга, изведена у виду преплета с пет концентричних кругова, идентична оно' из Псалшира с йоследоваюем Божидара ВуковиВа из 1520. године. ТреВа'е отиснута црвеном борм с клишеа први пут примегаеног приликом илустровагаа друге варранте ове кгаиге, и то на самом почетку текста последовагаа. Иако нису истоветне оним из Божидаревог издагаа, вигаете су одштампане с ранре употребгаених клишеа. Кадаре реч о фигуралним композицрама, илустрацра с представом четворице 'евангелиста (Сл. 2) отиснута jV уместо заставице из издагаа истоимене кгаиге из 1546. године, унутар ко'е су у медагаонима симболи jeван^елиста (Медаковиъ 1958: 150). Ту су, што jV посебно занимгаиво, и натписи на грчком. За разлику од Псалшира с йоследоваюем из 1546. године, где у погледу иконографских и стилских решегаа орнаменталног украса и фигуралних представа нема потпуног раскида са источнохришВанском традицр'ом, у Молишвенику (Зборнику за йушнике), другом издагау ВиВенца ВуковиВа, превагу jV у пуно;) мери однео рене- блока оперважен, али у складу са магаим форматом, уместо од осам - сетом од шеснаест оквира, од ко)их се сваки састо)и из четири вигаете. На бочним и горгаим вигаетама су представе с разним вегетабилним, флоралним, зооморфним и антропоморфним мотивима, уобича)еним за ренесансни период, док су у оквиру догаих, ширих вигаета, приказане епизоде из Христовог и Богородичиног живота, као и оне из живота светих. Насупрот вигаетама у Псалширу с йоследоваюем у позитиву и у негативу, овде су све вигаете изведене у позитиву, ту сам цртеж jâ..
The Yenisei iconography of the South of Siberia was discovered by the Finnish expedition led by I.R. Aspelin (1887) and the monuments of the expeditions of 2000-2010 in the same area along the rivers ...Black and White Iyusy (Northern Khakassia) are taken into consideration. On the basis of the new iconography in the period of military expansion of medieval Kyrgyz in the northern Mongolian steppes (840), the Kyrgyz administration came in contact with the representatives of other syncretic religious groups on the Yenisei. The complex image is embodied in one person who was a Buddhist monk, a Manichaean envoy and a Central Asian spiritual leader. The Uighur Manichaean factor (8th century) was, to some extent, a cultural and historical impulse in the advancement of the syncretism on the Yenisei. Symbolic epigraphy: Buddhist stupas, swastika, endless crosses, cosmic signs accompany figurative reproduction of alien elements. Moreover, these reproductions are conjugated with a similar kind of epigraphy witnessed by researchers of the 20th century in the Chiglit area (Northern Ladakh). The crossroads of the Sogdian trade routes in Southern Turkestan and the northern end of trade routes on the Yeniseiindicate a Manichaean route unknown earlier.
The purpose of this thesis is to propose that there is a new way in which the iconography of the Julio-Claudian dynasty can be read by historians. I propose that the mechanism which can be applied to ...the iconography of the Julio-Claudians is that of the 'doctrine of capacities'. The 'doctrine of capacities' suggests that a ruler has 'two bodies', that of their physical, natural body and their 'political' body, or the image which represents the political position they held. Reading the iconography of the Julio-Claudians using this prism suggests that they were adept at using their public image to display a 'political' body. That is, a public image which reflected the manner in which they wished to be portray themselves to those they ruled. Through careful examination of the literary and material evidence available, it is clear that not all of the members of the Julio-Claudian dynasty possessed 'political' bodies, and of those who did, it is clear that each member of the dynasty amended or adapted the 'political' body for their own benefit and to meet their own political needs. This thesis also suggests that the 'doctrine of capacities' is both flexible and adaptable when the images of the Julio-Claudians are examined, not only does the concept allow rulers to deal with a range of issues. Those assessed in this thesis are age, disability, gender and political inexperience. In order to bring this fully to the fore, I have made comparisons to more modern political leaders and, in this way, hope to show the effectiveness to the 'political' body which the Julio-Claudians were able to fashion.
This thesis is a pursuit of a personal diagram poetry, with a submission of part creative work, part critical exploration of selected diagram poetry over the past 50 years. I examine my own work and ...that of pioneering diagram poet Jim Rosenberg as variations of the conceptual diagram, and explore wider examples in the work of contemporary visual poets, arriving at a diagrammatics that creates systems of thought from modalities of materiality, spatiality and iconography. I follow Foucault and Deleuze's pursuit of the diagram as a paradigmatic system, tracing its properties and potentialities in the social field but extract my own version of it, arising from exploration of the philosophical roots of the diagram. I apply DeLanda's realist critique of the diagram, moving it towards the concept of the assemblage and positioning the diagram as an episode of relational interactions that affect surroundings rather than statically record them. Both text and icon as language systems are probed as structures and as signifiers through close application of post-structuralism as the most rigorous interrogation of language's structures. The resulting creative work assumes a position in the gap between the textual and the visual to seek Drucker's 'semantic chords' in a retinal-cognitive collusion of word and image. I merge the visual exteriority of classifications, visual iconography, and associated graphic language, with the interiority of a personal vocabulary, mediated through what I term 'diagrams of disturbance' which seek to destabilise cognition with both the form they take and their challenging subject matter. I use models from the hard sciences to examine the abstract properties of the diagram, while seeking a common ground between word and icon in cognitive linguistics of Lakoff, and seeking underlying structures of diagram poetry in the application of information theory. Arising from the competing elements of word and icon the two halves of the research emerge as both a development of my own diagram poetry and a critical inquiry into diagram poetry as a form.
The study is a contribution to the iconography of St. John the Almsgiver. The paper focuses on the copper engravings and the painting of Joseph Kurtz from the 18th century in Slovak collections, ...which depict St. John the Almsgiver distributing the alms. While writing the study, we gradually discovered that to explain the etchings and the painting, we need to examine the origins of this iconographic theme. It was confirmed that the form of the representative portrait of St. John Almsgiver originated in Byzantium. Byzantine psalter illuminators undoubtedly created the essential iconographic attributes with portrait features of the scene. However, it is also indisputable that the transfers and robberies of the saint's remains before and after 1204 contributed significantly to the cult of the saint in several places in the Latin West. An important factor in consolidating the cult was the saint's inclusion in the Golden Legend hagiographic collection. This collection's illustrated manuscripts and first prints undoubtedly influenced the composition of the iconographic scene of the distribution of alms by St. John the Almsgiver. The Hungarian king Matthias Corvinus, who received the entire body of St. John Almsgiver most probably based on the peace treaty, and his court had contributed to the extraordinary promotion of the cult of the saint. Thanks to the painted decoration of the chapel in Buda, where the remains of the saint were kept, visual representations inspired by the Golden Legend collection spread not only in the territory of today's Slovakia but also in several places in today's Poland. Only the paintings of the 16th and 17th centuries prioritized the iconographic scene of giving alms to such an extent that most of their elements were adopted by Gustav Adolf Müller. In the representative crypto portrait of Joseph Kurtz, the beggars are strikingly similar, as if they were a multiplication of the exact figure. If we accept such an interpretation, the question of the reason for such a procedure arises. A hypothesis could be made that the painting was a mixture between a representative portrait and a narrative image.
Wall paintings in the Church of St. George in Kostoľany pod Tribečom discovered 60 years ago, belong to the oldest early medieval frescoes preserved on the contemporary territory of Slovakia dated ...from the middle of 11th until 12th centuries. Just Josef Krása and Ján Bakoš interpreted the lower part of frescoes in the context of Christology iconography primarily devoted to the Nativity of Jesus Christ. Only two registers of frescoes situated next to the triumphal arc of presbytery have not been correctly interpreted yet. This study is devoted to analysing especially those parts of the frescoes which have to be associated with Donor iconography. On the nave's south wall is a profane scene with the depicted prince of Poznan family with his two sons. The church founders, accompanied by St. George, offer a model of the church to Jesus Christ. On the north part of the nave, there is a religious scene depicting probably an anonymous abbot of Zobor Monastery accompanied by St. Adalbert praying before sitting Holy Mother with child Jesus on her knees. This scene was created on the occasion of the donation of a church by the Poznan nobleman family to St. Hippolytus Monastery. The author of the study puts the origin of frescoes into the context of historical events nearly linked with activities of Benedictine monks who came from the monastery of St. Boniface and Alexis on Aventine Hill in Rome, arrived in Central Europe together with St. Adalbert in 992. Frescoes could be made after St. Adalbert's martyr death and before his canonisation in 999.
In the second half of the eleventh century the Venetians erected on the west wall of the Cathedral at Torcello a gold-glass mosaic showing the Last Judgement. For geopolitical reasons, they chose to ...use Byzantine iconography rather than the local Western format. The apparent complexity of the Byzantine format has led scholars to brand it as ‘incoherent’ or ‘lacking in structure’. This thesis seeks to gain a proper understanding of the iconography by setting it in its historical context, asking what meanings the makers saw in the motifs they chose, and why they chose to deploy them as they did at Torcello and elsewhere. All images have an evolutionary history which governs their form, and guides, but does not control, their meaning. Current histories of early Last Judgement iconography are short and purely descriptive. This research offers a new analytical history of form and meaning in Eastern and Western Last Judgement images up to 1150. It examines them as ‘front-line’ artefacts, that is, as developed through time to carry the cognitive and emotional content needed to influence behaviour in accordance with their location and purpose. Iconography is analysed alongside other front-line activities (prayers, hymns, funerary rites, and congregation-facing texts). The analysis shows how, in ‘religion as lived’, inconsistent eschatological beliefs are used in different contexts for different purposes. It then shows how, in visual presentations, such beliefs can be combined to complement and reinforce each other. This process is facilitated by the Eastern concept of time. In the context of post-mortem judgement, this concept is used to reconcile two apparently inconsistent events, the Immediate Judgement at death and the Last Judgement at the end of time. While the Western iconography sets the Last Judgement in the future and ignores the Immediate Judgement, the Byzantine format unites both within a continuous present. The analysis shows how the mosaicists at Torcello combined this concept of time with strong visual guidance to deliver a clear structure and a single, complete, and coherent eschatological vision.
This research investigates the relationship of material and content in art and craft practices to ask not what things mean but how they mean. The principal object of analysis is the art medal, a form ...of small-scale, biface sculpture, normally bearing portrait images that was developed in fifteenth century Italy, and that is still practiced today, worldwide. Through the close analysis of a number of art medals, this research investigates the way in which materiality relates to content, and the processes through which meaning is generated. A synthetic methodology is used. This is based on the key methods and beliefs that can be found in numismatic study, in particular connoisseurship, iconography, and - in more contemporary and especially in university study - ideas of agency. This research presents a synthetic analysis of the most canonical expression of these ideas, by Berenson (19021920), Panofsky (19391955), and Gell (1998) respectively. These are set within a broader intellectual framework through analysis of theories of language (Peirce 1960, Saussure 2006), theories of perception (Böhme 2017, Benjamin 19362008a), and contemporary writing on meaning and surfaces (Ingold 2017, Bruno 2014). In this way, the art medal is both the principal object of study, but it also provides the lens through which new understanding is approached, this lens being set within a broader epistemological framework to establish the generalizability of the research findings. There are two objects that are studied in depth. The first of these is the Limbourg Brothers' medal of Constantine the Great. Using the method and ideas developed in the early stages of the thesis, fresh understanding is developed of the role of this medal in the collection of the Duke of Berry. A significant contribution to numismatic knowledge is developed in the demonstration of the medal's dependency on the iconography of Baldwin II, the last Latin Emperor of Constantinople. As a result of this new finding, it is possible to understand the role of the medal within its broader system of other objects, from which multiple meanings are developed through juxtaposition and material handing. In order to bring the generalizable insights of this research into view, the thesis closes with an analysis of the exemplary craft practice of David Pye. It is shown that meaning emerges through a system of movement in which the hand's faculty of touch plays a constructive role. In its conclusions, this research develops knowledge in relation to the intelligence of making as an emergent process within technical systems of humans, materials, and tools. This research challenges future study to direct attention towards the constructive and generative role of touch in art and craft practices. These insights will be vital as we develop new digital technologies of making.
The objective of this study is to analyze iconographies that show the whaling in the Brazilian Colony, dates back to the sixteenth century and had socioeconomic importance in the formation and ...implementation of people in the cost. This extractivist activity that involved the settlement of large cetaceans was a common scene in coastal areas, such as the Guanabara and Todos os Santos Bays, and Santa Catarina Inlets. In these visual documents we identified the main characteristics of whaling in Brazil: proximity to the coast, slave labor, specialization of work at sea, techniques of capture and processing, and the boats launched in the calm waters of the bays. The whaling iconography produced in Brazil have common elements, recognizable in the redundancy of certain visual arrangements: the chase, the harpooning, the towing, the shredding, the melting, and the storage. The most representative image of fishing is the dramatic moment in which man and animal meet since, in the Basque tradition, being close was paramount.
