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This thesis argues that the iconography on Seleucid coins was created in order to appeal to the various ethnic groups within the empire and thereby reinforced the legitimacy of the dynasty. It first examines the iconography of Seleucus I and argues that as Seleucus became more secure in his rule he began to develop a new iconography that was a blend of Alexander’s and his own. This pattern changed under Antiochus I. He replaced the Zeus of Alexander and of Seleucus with Apollo-on-the-omphalos. At approximately the same time, a dynastic myth of descent from Apollo was created and promulgated. It is argued that in addition to the traditional view that Apollo was readily identifiable to the Greco-Macedonians within the empire he was also accessible to the Babylonians through the god Nabû and to the Persians as a Greek (or Macedonian) version of the reigning king. This ambiguity made Apollo an ideal figure to represent the multi-ethnic ruling house. This also explains the dynasty’s reluctance to deviate from the iconography established by Antiochus I. This thesis continues to explore the role of Apollo and other gods in creating an iconography which represented Seleucid power ending with the reign of Antiochus III. This thesis also incorporates the numismatic representations of the king as divine into the debate on ruler cult. This evidence suggests that the Seleucids may have had some form of ruler cult before the reign of Antiochus III.

This thesis entails a three-part approach to understanding the iconographic program at Santa Maria Tonantzintla. First, an historical and stylistic background of Santa Maria Tonantzintla will be presented. Included in this section is a description of the church and its many saints. The second part is a description of the various images of the Virgin and associated Marian Emblemata within the church design. The third part focuses on the European- based iconography of the Virgin and the iconography of the pre-Hispanic earth mother Tonantzin. It will illustrate how the image of the Virgin of the Immaculate Conception at Santa Maria is the physical manifestation of a sacred discourse between Catholic and ancient Mexican iconography.

An eighteenth century Mexican folding screen or biombo is located at Virginia House in Richmond, Virginia. A similar three-paneled screen is also located at this site. Upon seeing the similarities between each screen I concluded that the seven panels were at one point a part of one folding screen. The top sections of these folding screens show emblems that depict images of virtues and vices. The source of the emblems on the Virtue Screen is Otto Van Veen's Homtii Emblemata. The text on the screen is taken from a Spanish translation of the Horatii Emblemata entitled the Theatro Moral de toda la Philosophia de los Antiguos y Modernos. This thesis will examine each emblem in a panel-by-panel discussion as well as the iconography found throughout the screen. It will also provide a brief history of the folding screen with its origins in Asia and a comparison of similar screens that have been discovered in the Western Hemisphere.

in English: The aim of this thesis is to present the Korean Buddhist sculpture throughout the Korean history. The thesis presents Buddhist iconography at the beginning, focusing on the Korean art especially. Afterwards the main and most important Buddhist sculpture masterpieces are introduced. The sculptures represent certain period of Korean history. The work contains Korean Buddhist sculptures from the times of introducing Buddhism in Korea, i.e. Three Kingdoms period, and then presents the Buddhist sculpture from this time on, in Unified Silla, Koryŏ Kingdom and Chosŏn Kingdom. Key words: Buddhism, sculpture, iconography, Korea

This thesis examines evidence of the earliest viols in Italy. In light of recent changes in perspective on the origins of the Italian viola da gamba, a new approach to building historical models of the instrument is necessary. By using Castiglione's description of violas as a significant signpost, I have developed a clearer picture of the early viola da gamba's socio-musical context. Using this context, along with my experience as a luthier, I redefine the parameters by which we may interpret the corresponding iconography of the instrument. By relating the building techniques that appear in iconography to our modern knowledge of instrument-making, I expose the differences between building conceptions in the late fifteenth and early sixteenth centuries and those that stem from later "surviving" instruments. Finally, by placing historical models within the musical framework of plausible repertoire, I reveal the ingredients for an updated sense of sound and performance practice.

The Sea Peoples are generally assumed to be a loose confederation of clans that first appeared in the historical record in the 14th century B.C.E. Over a century of scholarship has puzzled over whether they were responsible for the collapse of several Late Bronze Age civilizations or simply one of several catalysts that put that collapse in motion. Many attempts have also been made to determine the origins of the various groups of Sea Peoples using textual and iconographic evidence, as well as the material culture of the Sea Peoples identified in Cyprus and the Levant. This material culture is characterized foremost by locally made Mycenaean-style pottery; as such, a considerable Aegean or Mycenaean presence has been argued in the multi-ethnic Sea Peoples coalition. The most important visual record that survives of the Sea People documents a land and sea battle against the forces of Ramesses III in the early 12th century B.C.E. and is recorded on the walls of the pharaoh's mortuary temple at Medinet Habu. In 1964 a connection was first proposed between the distinctive ships of the Sea Peoples in the Medinet Habu naval battle relief, with their high, angular stem- and stern- posts topped with outward-facing water-bird heads, and the vogelbarke, or bird-boat, of Late Bronze Age Central European religious iconography. Too little is still understood of both the vogelbarke tradition and the maritime abilities of Bronze Age Central European populations to conclusively state at this time that a vogelbarke-like vessel could have plied the waters of the eastern Mediterranean during the Late Bronze Age. However, additional archaeological evidence suggests a Central European mercenary presence in Mycenaean Greece during the period of Sea Peoples activity, as well as Central European participation in the multi-ethnic coalition reflected particularly in the material culture of the Sea Peoples identified in Cyprus. This evidence strengthens the possibility that the vogelbarke-like vessel some scholars claim to see at Medinet Habu is indeed not a "duck out of water."

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Le thème que nous avons choisi pour notre travail de doctorat nous a amenée à mener une enquête minutieuse et détaillée dans une grande variété de sources:épigraphiques, littéraires, archéologiques. A côté des sources textuelles, les données iconographiques ont joué un rôle important, et sont sans doute celles qui permettent de se faire le mieux une idée de la place et du rôle de la Lune (Tiu) dans la culture étrusque. Dans le répertoire figuré étrusque, elle apparaît souvent comme une étoile, sans jouer un rôle direct dans les scènes représentées, mais cette fonction, limitée, au niveau de l’image n’exclut évidemment pas qu’elle ait pu par ailleurs, intervenir au niveau du culte. Il paraît a priori légitime de penser qu’elle ait pu avoir dans le monde étrusque un rôle comparable à celui du Soleil (Usil), même si les données concernant le soleil sont nettement plus nombreuses et ont par conséquent suscité une bibliographie plus abondante. La répartition des deux moitiés du foie de Plaisance entre Usil et Tiu suffit à montre que la lune et le soleil avaient, dans leur dimension astrale, une fonction comparable et complémentaire. On peut donc conclure que les Etrusques n’ont pas vraiment ressenti la nécessité d'une personnification de la lune, pour laquelle les arts figurés, n’avaient rien à leur fournir.On peut donc dire que la personnification de la Lune chez les Etrusques a échoué : l’astre est resté presque toujours confiné dans son rôle d’élément du paysage céleste:quant à l’existence de formes institutionnalisées du culte de la lune, indépendamment d’une «théologie» de sa personnification, les résultats sont équivoques et ne permettent pas de la garantir absolument. / The purpose of this study is to investigate whether it is possible to identify a lunar deity in Etruria.The attributes associated with the moon, in the classical sources, describe the astral nature and its influence on life and on human events. Its manifestations in the sky are often linked to both the measurement of time as well as activities of divination. The aim of the research is to identificate aspects of the cult associated with the word TIU, which means Moon: they are therefore excluded all the processes of "transfer" to other divine figures of some peculiarities of the greek Moon goddess.The approaches used in this study must converge to build a framework that shows the existence of an anthropomorphism or personification of the moon in Etruscan culture. There is “a lot of” moon in Etruria, but what it lacks is its personification. It 'obvious deficiency in anthropomorphism: although Tiu is a fine example of persistence in the historical period of the original notion of the divinity of nature, not very well determined from the iconic point of view. And the weakness of this process, belongs from Greece.The reasons for this lability, we can find elsewhere: Selene, perhaps too weak figure in archaic Greece, acquires consistency in the Hellenistic period, but when the process of anthropomorphism have already been already completed. The conclusion of this study is still positive. The case of the moon is also very instructive in its meanings / negative evidence because it makes us really understand how it worked this interesting and complex operation that brings in the Orientalizing and High archaism to the anthropomorphism of the Etruscan pantheon.