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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Byzantine art and the Dugento iconographic sources of the passion scenes in Italian painted crosses /

Derbes, Anne. January 1980 (has links)
Thesis (Ph. D.)--University of Virginia, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 380-406).
2

How to do things with words and images in late antiquity and the early middle ages /

Tuerk, Jacquelyn Christine. January 2002 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of Art History, August 2002. / Includes bibliographical references. Also available on the Internet.
3

Der Bilderkreis des griechischen Physiologus, des Kosmas Indikopleustes und Oktateuch, nach Handschriften der Bibliothek zu Smyrna

Strzygowski, Josef, January 1899 (has links)
With this bound Gardthausen, V.E. Sammlungen und Cataloge griechischer handschriften. Leipzig 1903; and, Ferrari, G.I documenti greci medioevali di diritto privato dell'Itallia meridionale. Leipzig, 1910. / With additions by Max Goldstaub.
4

Iconography, architecture and liturgy the Church of Chora in Constantinople /

Eby, John A. January 1977 (has links)
Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1977. / Includes bibliographical references (leaves 117-118).
5

Maʻaśeh Be-reshit u-maʻaśeh ha-mishkan raʻyon ha-Mishkan/ha-Miḳdash ṿe-khelaṿ ke-tavnit yitsugit ṿe-simlit li-veriʼat ha-ʻolam u-vituyaṿ ba-iḳonografyah ha-Yehudit ṿeha-Notsrit-ha-Bizanṭit bi-Yeme ha-Benayim /

Laderman, Shulamith. January 1900 (has links)
Thesis (Ph. D.)--Universiṭah ha-ʻIvrit bi Yerushalayim, Jerusalem, 2000. / Includes bibliographical references (p. 309-327).
6

Depicting orthodoxy : the Novgorod Sophia icon reconsidered

Tóthné Kriza, Ágnes Rebeka January 2018 (has links)
The Novgorod icon of Divine Wisdom is a great innovation of fifteenth-century Russian art. It represents the winged female Sophia flanked by the Theotokos and John the Baptist. Although the icon has a contemporaneous commentary and it exercised a profound influence on Russian cultural history (inspiring, among others, the sophiological theory of the turn of the twentieth century), its meaning, together with the dating and localisation of the first appearance of the iconography, has remained a great art-historical conundrum. This thesis sheds new light on this icon and explores the message, roots, function and historical context of the first, most emblematic and most enigmatic Russian allegorical iconography. In contrast to its recent interpretations as a Trinitarian image with Christ-Angel, it argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is Orthodoxy, as it was perceived in fifteenth-century Rus’: the icon together with its commentary was a visual-textual response to the Florentine Union between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. The thesis is based on detailed interdisciplinary research, utilising simultaneously the methodologies of philology, art history, theology and history. The combined analysis reveals that the great innovation of the Novgorod Sophia icon is that it amalgamates ecclesiological and sophiological iconographies in new ways. Hence the dissertation is also an innovative attempt to survey how Orthodoxy was perceived and visualized in medieval Rus’. It identifies the theological questions that constituted the basis of Russian Orthodox identity in the Middle Ages and reveals the significance of the polemics between the Catholic and Orthodox Churches for the history of Medieval Russian art.
7

Diplomacy by design : rhetorical strategies of the Byzantine gift /

Hilsdale, Cecily J. January 2003 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of Art History, June 2003. / Includes bibliographical references. Also available on the Internet.
8

Hai monai Myriokephalōn kai Roustikōn meta tōn parekklēsiōn autōn symvolē eis tēn ereunan tōm christianikōn mnēmeiōn tēs Krētēs /

Antourakēs, Geōrgios V. January 1977 (has links)
Thesis (doctoral)--Panepistēmion Athēnōn, 1977. / Title on added t.p.: Les monastères de Myriokéfala et de Roustica (Crète) et leurs chapelles. Summary in French. Includes bibliographical references (p. [189]-194).
9

Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods

Steyn, Raita 31 March 2010 (has links)
M.A.
10

Italy and Cyprus : cross-currents in visual culture (thirteenth and fourteenth centuries)

Andronikou, Anthi A. January 2015 (has links)
This thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.

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