Iconography

Bodrum Ilcesinin Akyarlar Koyu’nun Kemer Mahallesi Sarnic Sokak’ta bulunan yikik dokuk vaziyetteki tarihi bir tas ev ornegi uzerinden yapilan bu arastirmada, eski Bodrum evlerinin ic mekân duvar suslemeciliginin farkli bir yansimasi ortaya konulacaktir. Evin yikilmamis duvarlarinin ic yuzeylerinde, gozlerinde mavi boncuk bulunan ikiser adet kabartma tekniginde yapilmis balik ve guvercin motiflerine rastlanilmistir. Guvercinler ucar vaziyette ayaklariyla hayat agaclarini tasimaktadir. Sembolik acidan tarihi inanc motifleri bakimindan farkli anlamlar tasiyabilen bu zoomorfik ve bitkisel suslemeler, Bodrum mimari tarihi acisindan ilgi cekecek niteliktedir. XIX. yuzyil icin Bodrum’da Akyarlar gibi balikci koyundeki bir evde bulunan bu suslemeler, donem insanlarinin estetik degerlere verdikleri onemi gostermektedir.

Principal forma de autenticação documental utilizada na Idade Média, os selos constituíam também uma representação daqueles que os utilizavam e, como tal, são considerados como os seus próprios símbolos de identificação e afirmação. Largamente difundidos no mundo das catedrais, onde eram usados por bispos, cabidos, dignidades e cónegos, bem como pelas cúrias episcopais, os selos deste universo eclesiástico são o objecto do presente trabalho, que analisa e salienta essa sua dimensão simbólica e representativa, mostrando a importância primordial dos selos enquanto elementos iconográficos que permitem compreender melhor o modo como o clero secular e as suas instituições se reconheciam a si próprios e ostentavam o seu poder, assim como o progressivo desenvolvimento da noção de identidade, não apenas de grupo, mas também pessoal, ao longo dos séculos medievais. Palavras-chave: Sigilografia; Clero secular; Iconografia; Símbolo; Poder. ------------------------------------------------------...

Este livro reúne um conjunto de estudos que analisam, de diferentes perspectivas, algumas das múltiplas realidades que constituem o mundo do clero secular e das suas catedrais na Idade Média, dando o protagonismo a novos campos de pesquisa e a linhas de estudo interdisciplinares até agora pouco exploradas em Portugal. É composto por duas partes: "Espaços, Símbolos e Poderes", dedicada à liturgia, à música, à arte, à arquitectura, à sigilografia, à heráldica e à epigrafia ligadas às catedrais, e "Culturas", que aborda a materialidade e a mundividência do quotidiano do clero secular medievo, com destaque para a sua vertente cultural e intelectual. Índice Apresentação / Presentation | Maria do Rosário Barbosa MORUJÃO Introdução Porquê as catedrais? | Anísio Miguel de Sousa SARAIVA Espaços, Símbolos e Poderes Liturgia e Espaço Religioso Catedral y liturgia medievales: la definición funcional del espacio y sus usos | Eduardo CARRERO SANTAMARÍA Espaço religioso e trans...

""1. La mort des évêques portugais et le choix de sépulture: questions méthodologiques et nouvelles perspectives de recherche (Anísio Miguel Sousa Saraiva) 2. Les monuments tumulaires: les singularités de quelques exemples du XIIIe et XIVe siècles (Carla Varela Fernandes) 3. Les tombeaux d’une cathédrale: Coimbra (Maria do Rosário Morujão)""

ABSTRACT: Les sceaux des évêques et des dignités capitulaires nous permettent de mieux connaître l’héraldique du clergé séculier portugais au Moyen Âge. Cette étude se révèle importante car elle permet de pallier le manque d’un inventaire général des sources sigillographiques et de réfuter les idées préconçues issues des traités d’héraldique postérieurs. L’analyse de ces sceaux a permis d’identifier quatre périodes successives, de la fin du XIIIe à la fin du XVe siècle. Quelques tendances générales se dégagent : la coexistence de la représentation héraldique et d’autres codes, avec lesquels elle entretient des relations complexes; l’héraldisation pro¬gressive de la sigillographie ecclésiastique, jusqu’au point où le prélat peut choisir de recourir exclusivement à ses armes ; l’élaboration d’un système de portrait héraldique formé par deux éléments complémentaires (l’écu évoquant une identification personnelle, et les ornements extérieurs, une identification sociale); l’usage de cert...

Oltre alle opere più note, il Giorno e le Odi, la produzione poetica di Parini comprende un ampio corpus di rime, multiforme nei generi ed eclettico nei temi, la cui analisi permette di tracciare un più completo profilo dell’autore. A partire dalle ricerche in corso per l’allestimento dell’edizione critica e commentata delle poesie varie, nell’ambito dell’Edizione Nazionale delle Opere di Giuseppe Parini, in questo contributo si intende presentare alcune riflessioni intorno ai componimenti dedicati al pittore Andrea Appiani e, più in generale, allo stretto rapporto instaurato dal poeta con gli artisti del suo tempo.

This text articulates investigations and debates of the A.T.A. from the Federal University of São João del-Rei (UFSJ) on the historical processes of urbanization in Brazil, with a focus on Minas Gerais and focus on what is defined as public spaces, via imagery and iconographic studies. Understanding that urbanization arrives in Brazil with colonization, what we seek to emphasize with this article are some surveys carried out by different research projects that have points of convergence and interconnection in the relationship with the paths and narratives, over time, about municipalities in the south-central region of the state of Minas Gerais. At first, we verify the historical paths delimited and mapped in the space-time cut of the Comarca do Rio das Mortes (1714-1892), then we analyze the changes that occurred both in the paths and in the geographic and political-territorial boundaries and micro-regional until the mid-1950s. From the iconographic survey, maps, drawings, paintings and photographic records, different layers of information are observed that dialogue with the regional historical process, signaling the unveiling of the socio-spatial transformations in the municipalities of this region. south mining region. By delimiting the cut of specific municipalities within the area primarily defined by the Comarca do Rio das Mortes, permanence and transience are perceived in the centralities and political-spatial relevance, which reveal the environmental-landscape, architectural-urban, socio-cultural and economic transformations . This article presents part of the process of intersection of ongoing investigations and allows us to contribute with information that expands regional knowledge and about the available collections, in the sense of recreating critical stories and narratives, also in the understanding of valuable iconographic and imagery inventories about this region, in addition to to critically discuss conservation, heritage and practices considered sustainable.

In this paper, I examine Nepalese images from Hanuman Dhoka and Patan Darbar Squares to illuminate a seventeenth-century phase of innovation in the representation of the eight śmaśānas and eight siddhas, typified by a synthesis of Buddhist and Nāth iconography and the appearance of the eight sages and cemeteries in Śaiva contexts. Notably, I will draw attention to a unique collection of stone reliefs at Hanuman Dhoka Palace that depict Buddhist siddhas wearing siṅgnād janeū, a thread and whistle worn by initiates of the Nāth sampradāya. Collectively, these sites reveal that the appearance of the eight śmaśānas and siddhas in Nepalese Śaiva spaces is more common than scholars have previously suggested.

Tattoo traditions of Native North America are integral aspects of Indigenous cultural expression, which have been long undervalued by Western scholars. Iconographic evidence suggests tattoo practices dated to as early as AD 1000 in the southwestern United States. However, few tattoo tools have been identified in the archaeological record to date. Therefore, the full temporal span of tattoo traditions in the region is unknown. We recently discovered a unique perishable tattoo tool from the Turkey Pen site, Utah, which dates to the Basketmaker II period (500 BC–AD 500). We present the results of rigorous and comprehensive analysis of the Turkey Pen tool, including scanning electron microscopy, portable X-ray fluorescence, energy dispersive X-ray spectroscopy, and experimental tattooing. This tool is the oldest tattooing artifact identified in western North America and provides evidence extending the antiquity of Native American tattooing in the southwestern United States back to the f...

El principal objetivo de este estudio la analisis integral de una escultura trecentista, La Virgen con el Nino, perteneciente a la iglesia de Santa Maria de los Martires de Alcacer do Sal, localidad que era entonces sede de la Orden de Santiago. Esta escultura, algo relegada por la historiografia, es diferente de las que aun encontramos en iglesias o museos portugueses, tanto por las caracteristicas estilisticas, que nos permiten establecer, por primera vez, la existencia de conexiones con la escultura languedociana, como por la importancia que se le otorga al comitente y a su estatuto social. Se pretende, asi, entender la integracion de esta obra en el contexto artistico coetaneo, y aproximarnos a la identificacion del cliente de la obra en el ambiente de la encomienda artistica santiaguista.

El motivo visual de la sala de vigilancia y control constituye una invención ligada al propio dispositivo cinematográfico. A través de una exploración de las diferentes configuraciones del motivo que se despliegan tanto en el cine como en la ficción televisiva contemporánea, el presente artículo explora la centralidad de este motivo en cualquier tentativa de definición de la imagen contemporánea. Del gabinete de control hasta el desarrollo de una vigilancia horizontal propia de las sociedades post-foucaultianas, la sala de control ha constituido uno de los núcleos centrales del cine bélico, de las visiones críticas con el poder y de las películas de robos a casinos o bancos. El motivo de la sala de control ha sido, asimismo, reinventado por cineastas como David Lynch y sigue constituyendo el vector fundamental en el que se dirime la naturaleza de todas aquellas imágenes no necesariamente captadas por el ojo humano, lo que Harun Farocki denominó imágenes operativas o phantom shots.

In 1976 the Polish archaeological mission directed by Stefan jakobielski discovered murals in the so-called "House A" in the suburbs of Old Dongola. Almost all preserved paintings are dated to the eight/ninth centuries, came from Room No. 3, which housed two pools. The discovery can be described as unique as it was the first time when paintings with such a rich iconographic program, including as it does representations of Christ Victor, archangels and saints, were found in a private house in Nubia. The definition of the function of the room is one of the most interesting research issues related to House A. It is generally accepted that Room 3 was a bath. The presence of pools as well as a system of water pipes providing warm water seem to support that opinion. On the other hand such an interpretation would not justify the existence of murals with such complex religious meaning.

An artificial structure was discovered under a natural skylight inside Grutas de Tzinacamóztoc, in the vicinity of the archaeological site of Cantona. The structure is made up of piled rocks, defining a pentagonal enclosure with a central mound. Detailed measurements and computer modeling allowed tracing of the sunbeam path projected on the structure and on the cave floor, particularly for dates of astronomical and/or Mesoamerican calendrical importance. This corroborates the possible prehispanic use of this site as a complex and sophisticated gnomon.