Dissertation work called Decoration of Prague Residential Buildings from the sixties of the 19th Century until World War I is devoted to sculptures and paintings of buildings, primarily serving for residential purposes. Residential aspect in this work is chosen to express difference from public buildings. City of Prague was chosen as a place of studied buildings not just only in its contemporary range, but in the sense of later "Great Prague". The period of the time covered in this work shows Prague intensely connected through cultural, social and artistic sense.Sculptures and paintings were the key elements for public buildings in the era of Historicism, Art Nouveau and Modernism. There were two essential meanings - ornaments and its richness represented the quality of the builder, as well as its content and symbolism expressed ideas, meaning and message of the building or its institution. The sculptures and paintings to a significant extent were developed not only in public buildings but also in private, ie. entirely residential. Also, these buildings contained their messages in the ornaments. Dissertation focuses exclusively on the part of the building where the ornaments included semantic component. It was either intended to be "read" by the audience, or contained meaning so individual in...

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

The study of ancient Egyptian monumental art is based on subjective and qualitative analyses by art historians and Egyptologists who use the change in stylistic trends as Dynastic chronological markers. The art of the ancient Egyptians is recognized the world over due to its specific and consistent style that lasted the whole of Dynastic Egypt. This artwork exhibits fractal qualities that support the applicability of applying fractal analysis as a quantitative and statistical tool to be used in this field. In this thesis, I show the fractality of ancient Egyptian monumental art by analyzing black and white line drawings of twenty-eight spearate bas-reliefs with three separate programs : Benoit 1.3, ImageJ, and Fractal3e. After preparing the images with GIMP2 software - used to remove non-original lines - I analyzed each image using the fractal box-counting analysis function in the above programs and calculated their fractal dimension, D. The resulting fractal dimension supported the consistency visually identified in the artwork from ancient Egypt, both chronologically and geographically. / by Jessica Robkin. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

余雪霞. / Thesis (M.A.)--香港中文大學, 1987. / Reprint of manuscript. / Includes bibliographical references (leaves 248-284). / Yu Xuexia. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1987. / 撮要 --- p.I / 序言 --- p.IIII / 目錄 / Chapter 第一章 --- 總論唐代壁畫的重要性及唐墓壁畫概況 / Chapter 第一節 --- 唐代背景概述 --- p.1 / Chapter 第二節 --- 唐代壁畫之功用 --- p.4 / Chapter 第三節 --- 唐代墓葬之分佈及墓葬形制與壁畫內容、佈局之關係 --- p.13 / 注釋 --- p.26 / Chapter 第二章 --- 從唐代墓葬壁畫看唐代繪畫之特色──人物畫和山水畫 / Chapter 第一節 --- 前言──唐代繪畫之分科 --- p.30 / Chapter 第二節 --- 人物畫──兼論《樹下人物 圖》 --- p.37 / Chapter 一 --- 綺羅人物 --- p.39 / Chapter 二 --- 步卒屬吏與男僕 --- p.53 / Chapter 三 --- 樹下人物圖與墓主肖像 --- p.59 / Chapter 甲 --- 樹下人物圖之源起 --- p.60 / Chapter 乙 --- 唐墓中的樹下人物圖 --- p.83 / Chapter 丙 --- 樹下人物圖之藝術特色 --- p.82 / Chapter 第三節 --- 山水畫 --- p.88 / 注釋 --- p.112 / Chapter 第三章 --- 從唐代墓葬壁畫看唐代繪畫之特色──花鳥畫和界畫 / Chapter 第一節 --- 花鳥畫 / Chapter 一 --- 前言 --- p.125 / Chapter 二 --- 花卉翎毛 --- p.135 / Chapter 三 --- 鞍馬走獸 --- p.162 / Chapter 四 --- 小結 --- p.170 / Chapter 第二節 --- 界畫 --- p.172 / 注釋 --- p.191 / Chapter 第四章 --- 唐代繪畫之風格分析 / Chapter 第一節 --- 從唐代墓葬壁畫總論唐畫之風格 --- p.201 / Chapter 第二節 --- 由唐代墓葬壁畫看唐代 之畫評 --- p.210 / 注釋 --- p.235 / Chapter 第五章 --- 結論 --- p.239 / 附表一 --- p.243 / 附表二 --- p.244 / 附表三 --- p.245 / 附表四 --- p.246 / 附表五 --- p.247 / 參考書目 --- p.248 / 附圖 --- p.285

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Lo Ka Yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 334-341). / Abstracts in English and Chinese. / Lo Ka Yu. / 論文擇要 --- p.i / Abstract --- p.ii / Acknowledgments --- p.iii / Table of Content --- p.iv / List of Figures --- p.vi / List of Tables --- p.xv / Introduction --- p.1 / Chapter 1.1 --- Questions raised --- p.1 / Chapter 1.2 --- Literature in Chinese wood carving and symbolic language --- p.11 / Chapter 1.3 --- Methodology and field work --- p.26 / Chapter 1.4 --- Content of the thesis --- p.29 / Jixiang 吉祥 carvings --- p.30 / Chapter 2.1 --- An exhibition of wishes --- p.30 / Chapter 2.2 --- Chinese: People of symbols --- p.32 / Chapter 2.3 --- Chinese Sense of Auspiciousness --- p.37 / Chapter 2.4 --- Chinese House: symbols and jixiang 吉祥 --- p.41 / Chapter 2.5 --- Jixiang 吉祥 motifs in wood carvings --- p.44 / Chapter 2.6 --- "Motifs, symbols and symbolic language" --- p.47 / Domestic Decorations --- p.55 / Chapter 3.1 --- Tai Fu Tai 大夫第，San Tin 新田 --- p.57 / Chapter 3.2 --- "No. 123 village house, San Tin 新田" --- p.104 / Chapter 3.3 --- Ching Shu Hin 清暑軒，Ping Shan 屏山 --- p.107 / Chapter 3.4 --- "No. 93 village house, Shui Tsan Tin Tsuen 水盞田村" --- p.141 / Chapter 3.5 --- "No. 32&33 village houses, Ha Tin Liu Ha 下田寮下" --- p.143 / Ceremonial Buildings --- p.147 / Chapter 4.1 --- Man Ancestral Hall 文氏宗祠，San Tin 新田 --- p.149 / Chapter 4.2 --- Man Lun Fung ancestral hall 麟峰文公祠，San Tin 新田 --- p.155 / Chapter 4.3 --- Kun Ting Study Hall 覲廷書室，Ping Shan 屏山 --- p.171 / Chapter 4.4 --- Wai Hing Study Hall 渭卿書室，Ping Shan 屏山 --- p.198 / Chapter 4.5 --- Yan Dun Kong Study Hall 仁敦岡書室，Ping Shan 屏山 --- p.201 / Chapter 4.6 --- Sin Sui Study Hall 善述書室，Lung Yeuk Tau 龍躍頭 --- p.217 / Religious Buildings --- p.246 / Chapter 5.1 --- Tung Shan Temple 東山古廟，San Tin 新田 --- p.248 / Chapter 5.2 --- Kwan Tai Temple 關帝古廟，Tai O 大澳 --- p.251 / Chapter 5.3 --- "Yeung Hau Temple 楊侯古廟, Tai O 大澳" --- p.262 / Symbolic Language of Wood Carvings --- p.277 / Chapter 6.1 --- Symbols - pictorial vocabularies --- p.277 / Chapter 6.2 --- Symbolic meanings --- p.284 / Chapter 6.3 --- Reading the Symbolic language --- p.287 / Chapter 6.4 --- Dynamics of Symbolic Language --- p.312 / Conclusion --- p.316 / Appendix I --- p.319 / Appendix II --- p.320 / Appendix III --- p.321 / Appendix IV --- p.323 / Appendix V --- p.326 / Appendix VI --- p.327 / Bibliography --- p.334 / Manuscripts before 1911 --- p.334 / Works after 1911 --- p.336 / Other References --- p.341

This study identifies and analyzes architectural inscriptions found on university and public libraries from the period of 1890 to 1930 in the United States. An architectural inscription refers to carved text, most often found adorning the walls of the interior or exterior of the building. The period of 1890 to 1930 saw the increased use of the inscription on a range of civic and institutional architecture. The era was particularly prone to moralizing and didactic sayings, which stemmed from a number of social and political factors. University libraries were drawn to the inscription as an ornamental type, for it became an expression of the ideals of the school and reflected a desire for legitimacy and sophistication. This study analyzes the decisions behind the inscriptional program, which often uncovers the latent agenda of the librarian, university president, or building committee. At the same time, the Beaux Arts and Neo-Gothic styles that were widely adopted for library buildings carried their own conventions for the aesthetic and associative use of the inscription. This study analyzes the historical and aesthetic factors that influenced university library inscriptions, and provides insight into the particular inscriptional themes found on number of American universities. / Architectural inscriptions and morality, 1890-1930 -- Trends in library building -- Inscriptions of Beaux Arts university libraries -- Inscriptions of Neo-Gothic university libraries -- Influence of the Modern movement and the resurgence of contemporary library inscriptions. / Department of Architecture

Thesis (doctoral)--Princeton, 1994. / Includes bibliographical references (p. [202]-109) an index.

Thesis (Ph. D.)--University of Melbourne, 1985. / Includes bibliographical references (vol. 2, leaves [2]-26).

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Anthropology, 2008. / Includes bibliographical references.