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.
Abstract The Romanesque portal of the church of St. Aegidius in Ilija near Banská Štiavnica, which dates back to 1254, is a unique architectural and sculptural work, and its significance transcends ...the borders of medieval Hungary. Andrej Kmeť and Václav Mencl significantly deepened the knowledge about the history of the portal and its stylistic classification as well as historical research and restoration from the recent period. The portal shows common features with the so-called Norman style spreading from Western Europe to its eastern parts, which persisted until the middle of the 13th century. The architecture of three-recessed jambs with inserted columns with pear-shaped profiling of the corners of the recesses passing into an entire arch above the tympanum with a three-circle border is complemented by rich sculptural equipment of capitals and cornices. The asymmetry of the relief decor forms on the northern and southern parapets follows a distinctive iconographic program unique even within the European context. The capitals of the northern lintel with zoomorphic motifs of dragons united by one head, the heads of outcasts incorporated into a tangle of vegetation, represent the world of diabolical powers attacking the human soul in an attempt to seize it. In contrast, the southern jamb is decorated with a balanced composition of double-row tongue leaves and a cornice capitalising paradise in its harmonious expression. The two linings are a materialized expression of instruction serving as the Biblia pauperum, one of the most important missions of medieval art.
Yet it is possible, with ethnohistorical sources and archeological evidence, to glimpse its relations with their nearest and farthest neighbors, even with the nahuas of the Valley of Mexico. In the ...present case, the solar iconography from an unpublished ballgame ring points to interaction between this region and Central Mexico. Iconografía; nahuas; etnohistoria; aro de juego de pelota; Posclásico Keywords: Iconography; Nahuas, ethnohistory; ballgame ring; Postclassic Como parte de las investigaciones que desde hace ya algunos años se han conducido en el suroeste de Puebla por parte del Proyecto Geografía histórica de la Mixteca Baja, del cual soy colaborador,1 se han realizado registros de suma importancia para conocer el pasado de esta región, los cuales van desde pequeños restos cerámicos del periodo Preclásico hasta claros restos de ocupación de sitios del Posclásico, referidos incluso en documentación novohispana, así como la transición entre la época prehispánica y la novohispana, los procesos de Independencia y, muy destacadamente, lo acaecido durante la Revolución, hasta los eventos sucedidos en la época contemporánea (Rodríguez y Rosas, s. f. a y b; en prensa a, b y c; Rosas y Rodríguez, 2016).2 Todos los elementos hallados, tanto cada uno de ellos como en su conjunto, son reflejo de la situación política y social en determinada época. Según las indagaciones que realizamos entre la población, principalmente con la gente de mayor edad, ellos recuerdan que dicha piedra se encontraba "arrumbada" en el "estribo" de la iglesia, es decir, en un arco adosado junto al campanario que da sostén a la construcción.
This article is a part of the study on model iconography and distribution of Sema stones in the Dvaravati-art of Lao PDR. The purpose of this study was to study the iconography of Sema stones in the ...Dvaravati-art of Lao PDR. A survey and study of Sema stones in Dvaravati-art of Lao PDR. revealed 2 characteristics of carved images: 1) Symbolic images such as the lotus band motif and the Stupa-Kumpha motifs; 2) Auspicious images such as portraits and narrative arts. All of these symbols are associated with both Theravada and Mahayana Buddhism. Theravada and Mahayana Buddhism share symbols, such as lotus petals and lotus flowers, which symbolize the Buddha. The Stupa-Kumbha is a mixed Buddhist symbol, representing the life of Lord Buddha and abundance and liberation. Auspicious images include engraved group portraits, single portraits, and three Buddha jatakas: Vidhurapandita Jataka, Mahosadha Jataka, and Kulavaka Jataka. These images reflect the values and worldviews of the time, reflecting the values and worldviews of the people.
This article is a summary of 60+ Tēvāram hymns on Veṇkāṭu which are not only important documents in the history of South Indian Śaivism, but also the sthala and organizing principle of the structure ...of the temple, its location and iconography. The Śaivite Navagraha-sthalas in the Kāviri delta, are Curiyanārkōyil-Sūrya, Tiṅkalūr-Candra, Tiruveṇkāṭu-Budha, Vaittīcuvarankōyil-Aṅgāraka, Ālaṅkuṭi-Bṛhaspati, Kañcaṇūr-Śukra, TirunaḷḷāṟuŚanaiścara, Kuṃbhakoṇam/Nākeśvaram-Rāhu and Perumpaḷḷam-Ketu. The Vaiṣṇavas have their Navagrahasthalas in the Tāmiraparaṇi basin, called Navatiruppatis (nine holy lands). The nava-Kailāsas in this zone are also treated Śaiva grahasthalas. Śvetāraṇyeśvara temple. Tiruveṇkāṭu, is a crucial Śaiva-sthala, much less known to the outer world. The three authors of the Tēvāram, viz., Campantar (Tirumuṟai 1-3), Nāvukkaracar (4.6) and Cuntarar (7) have contributed six patikams (decades of hymns, totally of 62 hymns) on the Budha-sthala in Tiruveṇkāṭu. The different manifestations of Śiva are extolled in these hymns, particularly Ardhanārīśvara, Naṭarāja, Yogīśvara, Candraśekhara, Ekapādamūrti, Bhikṣāṭana, Kālāri, Gajasaṃhāra and so on. These remain unexamined in scholarly works. It is worthwhile to see what the Tēvāram-trio have to say on Veṅkāṭu. It seems during the past, Cōḻa, Veṇkāṭu was a base of the Vīraśaivas. Therefore, a shrine for the Lord Vīrabhadra is present within the Śvetāraṇyeśvara temple. The bhakti Tamil literature clearly recognizes the importance of this venue with reference to its landscape, sthala, vṛkṣa, cultic values, mythologies, nāmāvalis ‘epithets’ and its implications on the visual iconography of the temple that evolved under the Cōḻas and successive rulers of the region. This article hopes to show the importance of an aspect of Tamil Śaivism which is often neglected by scholars.
La recente digitalizzazione di un dipinto di anonimo siciliano nelle collezioni del Museo de Historia di Madrid e il suo inserimento nei database del patrimonio culturale spagnolo ed europeo ha ...consentito di riportare all'attenzione della comunità scientifica un'importante raffigurazione pittorica della tribuna di Antonello Gagini nella Cattedrale di Palermo. Dopo avere ripercorso le principali fonti documentarie ed iconografiche relative alla tribuna, viene qui presentata l'opera oggi a Madrid, che fornisce un prezioso riscontro alle fonti fin qui note.
Iconomy, Iconoclash ≠ Iconomics Smith, Terry
The Nordic Journal of Aesthetics,
07/2022, Letnik:
30, Številka:
61-62
Journal Article
Recenzirano
Odprti dostop
My response will be concerned less with the ontological character of specific or particular images—although I will consider some more with the strengths and weaknesses of several theories that have ...been advanced (including some that I have proposed) to characterize the nature, structure, development, and histories of imagery, image flows, scopic regimes, vision, visuality, the visual field, and world picturing. (The questionnaire prefers "the contemporary image-space" for this general register.) We will come up constantly against the problem implicit in the opening lines of the questionnaire: what can analysis of particular images (the ontology of an image) tell us about imagery in general (the ontology of the image), and vice-versa? How can the connections between these registers be made apparent? Whether we have in mind visual images or encompass (as we should) mental and verbal imagery as well, I believe that these questions have as much political urgency today as they ever did.
