Se analizan y discuten los contextos ontológicos de significación relacionados a la representación de la figura del murciélago (Chiroptera) en la iconografía del estilo prehispánico Candelaria del ...Noroeste de Argentina (NOA). El mismo se realiza desde un enfoque interdisciplinario biológico-arqueológico junto al diseño y elaboración de una base de datos digital para la integración de la información que permiten discutir las interacciones entre humanos-ambiente de las sociedades prehispánicas del NOA.
Este artículo analiza la evolución y relación de diferentes elementos comunicativos en fachadas hospitalarias de la península ibérica durante los siglos XV y XVI. La iconografía estuvo presente para ...la identificación de estas instituciones dentro del entramado urbano, mientras que la heráldica se utilizó como una extensión representativa de los patrocinadores. A ello se añadió la utilización de escrituras monumentales con grafías góticas y humanísticas y funciones identificativas y conmemorativas. Este proceso de integración y diálogo de la escritura junto a la heráldica y la iconografía derivó en la incorporación de emblemas por parte de los hospitales, un símbolo propio que aglutinó múltiples significados.
New Reports of Galeandra (Orchidaceae) from Mexico Romero-González, Gustavo A; Fernández-Concha, Germán Carnevali; Ramos, Carlos M. Burelo ...
Harvard papers in botany,
12/2021, Letnik:
26, Številka:
2
Journal Article
Recenzirano
Here we report two species as new for Mexico, G. arundinis and G. sobralioides, and discuss the report of G. batemanii for the state of Tabasco. A discussion of possible diagnostic characters of this ...genus and a key to the Mexican species also are presented.
The broad topic “Tarkovsky and painting” contains commonalities, such as the director’s citing of the paintings by Pieter Bruegel or Leonardo da Vinci, but there are also less explored aspects. The ...latter include A. Tarkovsky’s method of working with images based on the work principles of the old masters of painting; implicit references and allusions not just to individual paintings, often not yet described, but to the entire worlds of certain authors or movements; and a total commitment to quotation together with a skilful and deliberate disguise of the technique, also described by the director in theoretical works. Tarkovsky was an artist in the very first sense of the word — a student of an art school, author of film sketches and storyboards, paintings, and even art history works. However, the main thing regarding the topic “Tarkovsky and painting” is his application of the very vision of a painter in his own work. He worked with frame structures in complex ways, often appealing to the repetition of the recursion technique, like great artists did in their works. He used iconographic repetitions in plots, themes, individual images, details, and motifs of his works. He often implicitly alluded to reference pictorial sources in such a way that without the testimony of colleagues the reference is impossible to guess. He applied the entire philosophical concepts assigned to individual artists and artistic movements and was not afraid to mix eras, using the elements and techniques of his predecessors to create his own film painting, finely crafted but full of anachronisms.
This article attempts to decipher the content of Giorgione's The Tempest, painted in the first decade of the 16th century. The study suggests the presence of two thematic layers in it: external, at ...the mundane level of the plot; and deep-laid, based on the esoteric concepts of the era. Astrology and occult practices became widespread in Italy in the second half of the 15th century. Natural magic, which was thought to attract positive star influences, acquired a wide circle of followers. The third book of Marsilio Ficino's treatise "On Life" is devoted to its practical application. The description of one of the talismans therein corresponds closely to the iconography of the characters in The Tempest. Research carried out in this connection suggests that the painting was created as a talisman capable of endowing its owner with special gifts - a love of life, outstanding intellectual abilities, and spiritual generosity.
Durante las primeras décadas del siglo XX, gran parte de la revisión de los símbolos homoeróticos grecolatinos estuvo ligada a los poetas y pintores que, por herencia cultural o por búsqueda activa, ...expresaban la diversidad sexual en su obra. La intolerancia social conllevó la necesidad de mantener un código paralelo caracterizado por la expresión mediante metáforas y elementos iconográficos de doble significado. La Generación del 27 fue el más claro exponente de este fenómeno en España y el artista plástico más representativo de la utilización de este código fue Gregorio Prieto. El estudio se centra en el análisis de símbolos pertenecientes a la naturaleza y al mundo vegetal (frutas, flores, árboles y oras plantas) en la cultura occidental. Se ha analizado la obra de Gregorio Prieto y realizado un análisis iconográfico recurriendo a fuentes bibliográficas primarias y secundarias. Los resultados permiten interpretar el mensaje que el pintor quería transmitir de forma velada, da las claves y es extrapolable a otros artistas plásticos y literarios de la época como Lorca, Cernuda y Aleixandre, que heredaron la tradición homoerótica occidental.
Three faience amulets depicting the Eye of Horus (Wedjat) were discovered in the Southern Urals. They all come from burial mounds of early nomads and are dated by local chronologies to the 5th – 4th ...centuries BC. One pendant comes from a pristine (not looted) burial of the burial mound Filippovka I; it was found in a complex of objects covered with a mirror. The two other pendants, similar to one another, were found in looted burials of the burial mound Novy Kumak. The material and iconography of the Filippovka amulet place it close to the types 138 v, w, and z in the classification of F. Petrie, who believed that this type of depiction of the Eye of Horus had originated from the time of the 6th Dynasty (end of the Old Kingdom) and persisted through the end of the Ptolemaic Egypt. The pendants from Novy Kumak are comparable to Petrie’s types 138 r, s, and t, which appear during the 23rd Dynasty (3rd Intermediate Period) and vanish early during the Ptolemaic dynasty. An extensive import of goods from Egypt to Mediterranean countries during the 1st millennium BC resulted in the local craft centers in Syria, Judea, Anatolia, Greece, Italy and island states copying the Egyptian technologies of manufacturing glass and faience and starting manufacture of their own goods with the imported technologies. Trace analysis and analysis of faience composition showed that the pendants from Filippovka and Novy Kumak had been manufactured following different Egyptian faience recipes. SEM and SEM/EDX analyses of the Filippovka pendant suggest a possibility that it was made in handicraft centers of the Eastern Mediterranean with a borrowed technology. L. T. Yablonsky has developed the original idea of the research, aimed at not only revealing the origin of imported items, but also identifying the purpose of these amulets in rituals of early nomads. The author has analyzed the semantics of the amulets’ image adopted in ancient Egypt, and the likely use of these amulets by nomads, made conclusions. O. V. Anikeeva has studied the iconography of amulets, their distribution among nomads, investigated the materials using natural-science methods.
Review of Medieval Self-Coronations: The History and Symbolism of a Ritual. By Jaume Aurell. Cambridge: Cambridge University Press, 2020. ISBN 978-1108-84024 Hardback. xiii + 340 pp. 32 b/w images. ...£90.
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