Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale. / In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products.

Painting decorations of the Sedlec Antiphonary manuscript (Prague, NK ČR, XIII A 6) serve as significant evidence for art painting development in Central Europe during the cultural changes, when Late Romanesque style evolved into Gothic. The aim of the thesis is to submit profound art-historical analysis of the Sedlec Antiphonary manuscript, which is stored in National Library of the Czech Republic in Prague, call number XIII A 6. The main method of this work is the careful study of painting decorations in the manuscript, in terms of both analysing their layout in general and typology of the single ornament motifs. Among other methods are formal analysis, comparison based on typology and iconography analysis. Similarities of the manuscript and works of the same time of origin, such as Mater verborum manuscript (Prague, KNM, X A 11) or Wolfenbüttel sketch-book , are also taken into consideration. Due to this comparison could be proved that the author of the Sedlec Antiphonary was probably influenced by Byzantine, Venetian and German painting styles. The Sedlec Antiphonary represents an important and practically key work in the context of painting development in the 13th century. Keywords book painting, miniature, initial letter, Women at the Sepulcher, 13th century