Spelling suggestions: "subject:"iconography"" "subject:"inconography""
501 |
Mettre la France en tableaux : la formation politique et sociale d’une iconographie nationale au musée historique du château de Versailles (1830-1950) / No English title availableAntichan, Sylvain 24 October 2014 (has links)
En 1837, le château de Versailles est « converti » en un vaste musée visant à « réunir tous lessouvenirs historiques nationaux qu’il appartient aux arts de perpétuer ». Durant près d’unsiècle, cette histoire muséale de la France est reconduite, remaniée et actualisée jusqu’auprésent du Second Empire puis de la Troisième République. Notre thèse tente de comprendre,à partir d’un matériau archivistique dense, la contribution du musée à l’élaboration tout autantqu’à la diffusion d’un imaginaire national et civique.L’analyse iconographique de près de 1300 peintures, réinscrites dans leur cadre palatial,permet d’approcher les mises en forme picturales et matérielles du politique, ses variations etses invariants. Dès lors, l’enjeu est d’appréhender comment ces visions historicisées d’unÉtat-nation ont pu tenir et être appropriées. Leurs succès ne relèvent pas seulement d’uneaction politique et administrative mais s’arriment à l’agencement réciproque de différentessphères sociales et strates d’appartenance. Cette histoire nationale se forme en retraduisant lesunivers les plus familiers des acteurs, en empruntant à la mémoire domestique des « grandsnotables », aux normes et aux enjeux de groupements professionnels (peintres, historiens,militaires) ou encore en solennisant les pratiques routinières d’un « public mêlé ». L’histoirede France s’objective dans cette interpénétration des identités et des loyautés, dans cesconsolidations croisées de secteurs sociaux, dans ces dynamiques de politisation du social etde socialisation du politique. Saisir la formation, le contenu et la diffusion de cet imaginairenational équivaut alors à scruter des systèmes de relation entre groupements sociaux, desarticulations variables entre le quotidien et le national, entre l’art et l’histoire, entre le social etle politique. / In 1837, the Palace of Versailles was « converted » into a vast museum aiming to « gather allthe national historical memories that it belongs to the arts to perpetuate ». For about a century,the Second Empire, followed by the Third Republic, maintained, reshuffled and expanded themuseum, to include representations of contemporaneous events. This thesis aims tounderstand, based on a dense network of archival materials, the museum’s contribution to theelaboration and diffusion of a national and civic imagination.The iconographic analysis of nearly 1,300 paintings within the context of their palatialframework allows us to explore the pictorial and material representations of the political, theirsimilarities and differences. The issue, therefore, is to apprehend the manner in which thesehistoricized visions of the nation-Statecould hold and become internalized. Their success isnot only the result of political and administrative action, but also finds its source in the mutualreinforcement of different social spheres and loyalties. This national history takes shape byreproducing the actors’ most familiar environments, by borrowing from the domestic memoryof the “great notables” and from the norms and issues of professional groups (painters,historians, the military), or by solemnizing the popular habits. The history of France becomesobjective through this interpenetration of identities, through this mutual reinforcement ofsocial sectors, in these processes of politicization of the social and socialization of thepolitical. To understand the formation, content and diffusion of this national imaginationamounts to scrutinizing the systems of relationships between social groups, the evolvinginterrelations between everyday life and the national, between art and history, and betweenthe social and the political.
|
502 |
Der Gelehrten Symbola - Studien zu den Emblematum Tyrocinia von Mathias Holtzwart (Straßburg 1581)Lailach, Michael 05 July 2000 (has links)
Das zweisprachige Emblembuch >Emblematum Tyrocinia: Sive Picta Poesis Latinogermanica. Das ist Eingeblümete Zierwerck oder Gemälpoesy< wurde im Jahre 1581 von Bernhard Jobin in Straßburg publiziert. Die typen- und motivgeschichtlich orientierte Analyse der strukturellen Ordnungsprinzipien des Emblembuches, vor allem der lateinischen und deutschen Texte von Mathias Holtzwart und der Holzschnitte nach Tobias Stimmer, zeigt den Gegensatz, in dem das Emblembuch zur literarischen Anthologie steht: Die besondere Form des Emblembuches erweist sich als das späthumanistisch geprägte Programm eines idealen "curriculum vitae". Die künstlerischen Techniken des Zitats symbolischer Bildmotive und literarischer Topoi in Bild und Text der >Emblematum Tyrocinia< bedingen hierbei die komplexen Bedeutungen der einzelnen Embleme und ihres Kontextes. Die in der Forschung zur Emblematik bislang vernachlässigten historischen Praktiken der Leser konnten im Fall der >Emblematum Tyrocinia< an zwei als "album amicorum" benutzten Exemplaren beschrieben werden. Diese Praktik läßt ebenso wie die deutschsprachige Vorrede Johann Fischarts, die zweite Auflage der Holzschnitte mit Texten Nikolaus Reusners (Straßburg 1587) und die künstlerischen Rezeptionen durch Matthias Merian dem Aelteren (Straßburg 1624) nicht nur Einsichten in die "Dispositionen" der Leser zu, sondern auch in die Intentionen des Verlegers. Die Emblembücher des späten 16. Jahrhunderts wurden im deutschsprachigen Raum zunehmend als "album amicorum" präsentiert - eine Entwicklung, an deren Anfang die Verlagsinitiative Bernhard Jobins steht und deren Verlauf von den Praktiken der Leser bestimmt wurde. / The bilingual emblem book >Emblematum Tyrocinia: Sive Picta Poesis Latinogermanica. Das ist Eingeblümete Zierwerck oder Gemälpoesy< was published by Bernhard Jobin at Strasbourg in 1581. My structural interpretation of the emblem book, especially of the latin and german texts by Mathias Holtzwart and the woodcuts after Tobias Stimmer, concentrates on the iconographic themes and literary topics. In doing this the difference between the emblem book and the anthology showed: The specific form of the emblem book originated in the ideal programm of a humanistic "curriculum vitae". The artistic techniques of citation of symbolic images like emblems, devices and hieroglyphs and literary topics provide the framework for the complex significance of the emblems and their contexts. The historical reading practices of the >Emblematum Tyrocinia< are described by two copies, which were used by their readers as alba amicorum. Today the two copies are in Nuremberg and Augsbourg. Like the german preface of Johann Fischart, the second edition of the woodcuts with texts by Nikolaus Reusner (Strasbourg 1587) and the artistic "citation" of emblematic motives by Matthias Merian the Older (Strasbourg 1624), the two alba amicorum demonstrate the "disposition" (Roger Chartier) of the readers and the intention of the publisher. The german emblem books were issued mainly by the publishers as "album amicorum". A development which began with the initiative of Bernhard Jobin and the emblem book >Emblematum Tyrocinia
|
503 |
Réinterprétation de l’iconographie votive géométrique carthaginoise à travers une approche transdisciplinaire: le « duo céleste », le losange, l’« idole-bouteille », le « signe de Tinnit » et l’étendard (VIIe/VIe – IIe s. av. J.-C.) / Reinterpretation of the geometric iconography on the votive stelae of Carthage through a transdisciplinary approach: the disk and the crescent, the lozenge, the “bottle idol”, the “Tinnit sign” and the standard (VIIth/VIth – IInd bc)Ammar, Mohammed Ali 16 December 2009 (has links)
Durant le premier millénaire, entre le VIIe/VIe et le IIe siècle avant Jésus-Christ, les Carthaginois ont élevé des stèles votives dans un sanctuaire à ciel ouvert. Dédiées à la dyade Baal Hamon et Tinnit Pane Baal, ces sculptures montrent sur leur surface décorée une iconographie qui se compose, en grande partie, de signes et symboles géométriques: un losange, une image céleste composée d’un disque et d’un croissant, une « idole-bouteille », le signe dit « de Tinnit » et un étendard nommé « caducée » dans la littérature. À ce jour, les informations liées à l’interprétation de ces images sont restées largement disparates et fragmentaires et aucune synthèse approfondie n’a encore été publiée à leur sujet. Afin d’aboutir à des résultats tangibles, il s’avère indispensable de mettre à plat l’ensemble des connaissances acquises sur le sujet. À cette fin, une nouvelle approche méthodologique basée sur une typologie raisonnée, c’est-à-dire diachronique et limitée à la seule métropole carthaginoise, sera mise en place. En outre, cette démarche doit être définie en adéquation avec le contexte régional tyrien, berceau de l’idéologie religieuse carthaginoise. Au-delà du rapport de ces images avec les divinités invoquées, la typologie à promouvoir doit, en même temps, nous permettre de clarifier le contexte chronologique propre à chacun de ces éléments figurés. / During the first millennium, between the VIIth/VIth and IInd century bc, the Carthaginians have erected votive stelae in an open air precinct. Dedicated to the dyad Baal Hamon and Tinnit Pane Baal, those sculptures show on their decorated surface an iconography mostly composed of geometric signs and symbols: a lozenge, a celestial pattern made up of a disk and a crescent, a “bottle idol”, the “Tinnit sign” and a standard named “caduceus” in the literature. To date, the information tied up with the interpretation of those images are largely disparate and fragmentary and no thorough synthesis has been published on their subject. In order to reach tangible results, it is necessary to gather all known data’s on the subject. To that end, a new methodological approach, based on a diachronic typology limited to the sole Carthaginian metropolis, will be put in place. Moreover, this approach must be defined in adequacy with the Tyrian regional context, cradle of the Carthaginian religious ideology. Beyond the links of those images with of the invoked divinities, the typology to promote must allow us, in the same time, to clarify the chronological context peculiar to each of the studied items.
|
504 |
3D laser scanning as a tool for Viking Age studiesNeiß (Neiss), Michael, Sabrina B., Sholts, Wärmländer, Sebastian K.T.S. January 2013 (has links)
Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010; 2011). In this work, we explore the utility of 3D-modeling as a tool for Viking Age artefact analysis. To test the usefulness of 3D-modeling when analyzing artefacts with a very complex morphology, we chose highly ornate Viking Age baroque shaped brooches as study objects. These baroque shaped brooches constitute a group of dress ornaments mainly encountered in eastern Viking Age Scandinavia. Due to their large cast and/or attached bosses they obtain an almost baroque appearance, hence their name (cf. Jansson 1984: p. 81). They appear in two major versions, i.e. circular or equal armed, and in two kinds of material, i.e. silver- and copper-based alloys. Because of the position of bronze brooches in burial contexts, it appears they were used to fasten the cape or shawl in the female dress (cf. Jansson 1984: p. 75ff., Aagård 1984: p. 96ff.; Neiß 2006, figs. 3, 4; Capelle 1962: p. 106). For the present work a recently excavated brooch from Denmark was analyzed, together with three Russian brooches with nearly iconic status in the field of Viking Age studies. In the three case studies, we investigated possible uses of 3D-modeling for artefact analysis, artefact reconstruction, and tool mark and motif analysis. Exploring the usefulness of 3D-modeling for these purposes allowed us to draw conclusions regarding how 3D-analysis can be best incorporated into future artefact analysis. In addition, the case studies allowed us to gain new insights about the baroque shaped brooches and their uses. / <p>Forskningsfinansiärer: Helge Ax:son Johnsons stiftelse, Svenska institutet (Visby-programmet), Kungliga vitterhets historie och antikvitets akademin (Montelius minnesfond); Svenska fornminnesforeningen</p> / 3D-laserskanning som verktyg vid vikingatidsstudier
|
505 |
La décoration intérieure de l’église Saint-Romuald de Farnham peinte par Ozias Leduc (1905-1912)Naud, Marie-Hélène 08 1900 (has links)
Le présent mémoire analyse, des points de vue iconographique et formel, la décoration intérieure de l’église Saint-Romuald de Farnham peinte par Ozias Leduc, réalisée entre 1905 et 1912. Cet ensemble, commandé par le curé Joseph-Magloire Laflamme, se situe entre deux étapes importantes de la carrière de Leduc : son décor de l’église de Saint-Hilaire (1896-1900) et ses grands paysages symbolistes (1913-1921). Tout au long de cette commande, un changement graduel s’opère dans la pensée et le style du peintre et s’étudie efficacement en fonction des trois étapes de production : 1905-1907, 1909-1910 et 1911-1912. Cette chronologie se manifeste dans la correspondance concernant la réalisation du programme. À Saint-Romuald, nous constaterons que l’idéologie de l’artiste se développe, de même que le style, que nous aborderons brièvement dans le cadre du présent mémoire. Même si Leduc n’est pas le seul responsable du décor, il se réfère, à plusieurs reprises, à son contexte historique et il unifie l’ensemble de la décoration de sorte que les toiles, l’architecture de l’église, la couleur des murs, les cadres, les motifs décoratifs et les emblèmes forment un tout. L’analyse de chaque tableau du décor permettra d’en identifier le thème, à savoir l’institution de la religion catholique, et le sous-thème, l’instruction. Ce programme iconographique et plusieurs autres liens unissant les œuvres entre elles transmettent des idéaux chers à Leduc, qu’il véhiculera dans ses autres décors religieux par la suite. Par ailleurs, pour entamer une analyse stylistique, il est indispensable de constater l’état de conservation des œuvres. Or, plusieurs d’entre elles furent partiellement ou complètement retouchées en 1952. Malgré ces repeints, nous commencerons à constater que le style de Leduc, influencé par le symbolisme, s’y révèle. Les analyses iconographique et stylistique permettront de situer ce décor dans le corpus de l’artiste. / The present master’s paper analyses, from iconographic and formal points of view, the interior decoration of the church Saint-Romuald of Farnham, painted by Ozias Leduc between 1905 and 1912. This program, ordered by the parish priest Joseph-Magloire Laflamme, allows a transition between two important periods in Leduc’s career: the decoration of the church of Saint-Hilaire (1896-1900) and his great symbolic landscapes (1913-1921). During the fulfilment of this commissioned work, a gradual change occurs in the thought and in the style of the painter which is studied efficaciously in regards to the three periods of his artistic production at Saint-Romuald: 1905-1907, 1909-1910 and 1911-1912. That chronology appears in the correspondence concerning the program’s realization. It is also illustrated by the development, at Saint-Romuald, of the artist’s ideology and of his technique, about which we will briefly discuss in the present master. Even though Leduc is not the sole responsible of the decor, he refers, more than once, to his historical context and he unifies the entire decoration so that the paintings, the architecture of the church, the color of the walls, the frames, the decorative motifs and the symbols create a whole. The study of each work of art, within these parameters, will allow identifying the theme, namely the institution of the Catholic religion, and the sub-theme, the education. This iconographic program as well as several other links existing between those paintings serve as a vehicle for Leduc’s cherished ideals, which he will continue to convey in his subsequent other religious decorations. Moreover, in order to begin to follow the development of the artist’s style, it is essential to notify the paintings’ state of preservation. Several of them were partially or completely painted over in 1952. Despite these repaints, as we will briefly establish, the style of Leduc, influenced by symbolism, is still very present. The iconographic and stylistic analysis will allow to place the decoration in the artist’s complete works. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de tous les documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
|
506 |
唐代道教関係石刻史料の研究神塚, 淑子 03 1900 (has links)
科学研究費補助金 研究種目:基盤研究(C) 課題番号:15520038 研究代表者:神塚 淑子 研究期間:2003-2005年度
|
507 |
La Tenture de la Dame à la licorne : la figure féminine au service de l'image masculine / The Lady and the Unicorn Tapestries : Feminine figures at the service of the masculine imageSowley, Katherine Ilsley 10 December 2012 (has links)
La tenture de la 'Dame à la licorne' est le plus souvent interprétée comme une allégorie des sens physiques, mais son iconographie se distingue par le registre héraldique. Chaque composition s’organise tel un emblème héraldique de sorte que les personnages principaux remplacent l’écu tant du point de vue visuel que fonctionnel. Si cette tenture est fréquemment citée comme un monument à la réussite socioprofessionnel du commanditaire, on n’a jamais cherché à comprendre comment le registre scénique contribue à la représentation du commanditaire. Autre lacune dans le corpus de littérature, l’importance de la figure féminine dans cette image est restée jusqu’alors ignorée. La présente étude propose donc d’étudier la 'Dame à la licorne' et sa fonction représentative en analysant les traditions culturelles, littéraires et iconographiques, ainsi que les réalités sociohistoriques, qui sous-tendent l’image d’excellence sociale que le commanditaire souhaite rattacher à sa personne et à sa famille. / The 'Lady and the Unicorn' tapestries are most often interpreted as an allegory of the physical senses, but their iconography is remarkable for its integration of armorial elements. Each composition is organized like a heraldic emblem, such that the main figures replace the coat-of-arms in its position and its function. Though this work is frequently identified as a monument to the patron’s socio-professional success, no effort has been made to understand how the scenes contribute to his personal representation. The lack of interest for the decidedly female character of this iconographic programme is another weakness in previous studies of these tapestries. This doctoral dissertation proposes to examine the 'Lady and the Unicorn' and its representative function by analysing the cultural, literary and iconographic traditions, as well as the socio-historic realities, that shape the image of social excellence the patron constructs in order to represent himself and his family.
|
508 |
Poslední obrazy / Last PaintingsŠiklová, Lucie January 2018 (has links)
The dissertation thesis Last Paintings deals with the issue of the last works of the authors at the end of the work. This question represents a complexly unexplored topic in the field of Czech art history. Last paintings are often so different from the previous work. So they may in specific cases give rise to a discussion: Have we include them or better give them to brackets in the artist's work as an excess and not too much deal with? Rather the second alternative is happening. In a wide range of possible focus, the work focuses on last works of modern and contemporary art history. Because such a group or category of art within the Czech art history has not yet been considered, it focus on Czech authorship. The selected iconic world's last works are presented for comparison at the end in a quick overview. Given the topic of the departure of a man from this world, tis work outlines the cultural anthropological bases, their symbolism, it reflects the iconography of last paintings. It offers options for categories, which appear to be diversified, permeating, and beeing rather as auxiliary matter. The main weight of the work is based on selected case studies of individual authors. On the basis of case studies with the implied support of analytical psychology, the last paintings appear as a guide to...
|
509 |
Uma festa para a Rainha da Borborema: O Centenário de Campina Grande (1960 - 1964). / A party for the Queen of Borborema: The Centennial of Campina Grande (1960 - 1964).AGUIAR, Joabe Barbosa. 09 October 2018 (has links)
Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-09T14:42:49Z
No. of bitstreams: 1
JOABE BARBOSA AGUIAR -DISSERTAÇÃO PPGH 2014..pdf: 7832554 bytes, checksum: f8139e11a91775ca3117629fdb0558f5 (MD5) / Made available in DSpace on 2018-10-09T14:42:49Z (GMT). No. of bitstreams: 1
JOABE BARBOSA AGUIAR -DISSERTAÇÃO PPGH 2014..pdf: 7832554 bytes, checksum: f8139e11a91775ca3117629fdb0558f5 (MD5)
Previous issue date: 2014-05 / Como leitores ávidos por novos horizontes e paisagens do passado, convido-lhes para
esta trajetória em busca de novos significados sobre o centenário de Campina Grande
(1964). Trata-se de uma investigação acerca da teatralização do poder, tendo como
suporte a construção simbólica e imagética. Conduzimos teoricamente nossa pesquisa a
partir do debate com a Nova História Política, nessa fundamentação, diálogo com os
autores do campo da teatrocracia, como Balandier e Geertz. Adotamos como fonte de
pesquisa o jornal Diário da Borborema que circulava no período em análise, além dos
livros de Ata da Câmara dos Vereadores de Campina Grande, músicas produzidas para
o centenário, álbum de figurinhas e fotografias sobre o evento festivo.
Metodologicamente nos pautamos pela análise das falas, impressões e observações
produzidas do contato com nossas fontes, com a preocupação de irmos além do
meramente escrito, no sentido de compreender seus discursos como resultantes das
relações de poder. Neste cenário, pretendemos decodificar as festas, os ritos e os
cerimoniais como as letras de um alfabeto. / As readers eager for new horizons and landscapes of the past, invite them to this path in
search of new meanings about the centenary of Campina Grande (1964). This is an
investigation about the theatricality of power, supported the construction and symbolic
imagery. We conduct our research theoretically from the debate with the New Political
History, in this reasoning, dialogue with the authors in the field of teatrocracia as
Balandier and Geertz. We adopt as a research newspaper Diário da Borborema that
circulated in the period, and the books of the Minutes of the City Council of Campina
Grande, songs produced for the centenary, sticker album and photographs about the
festive event. Methodologically we have guided the analysis of discourse, impressions
and observations produced contact with our sources, with the worry of going beyond the
purely written, in order to understand their speech because of power relations. In this
scenario, we want to decode the festivals, rites and ceremonies like the letters of an
alphabet.
|
510 |
The impact of the symbolism and iconography of the Ankh, sun-disk and Wadjet eye on modern (“western”) societyCoetzee, Derick 02 1900 (has links)
Ancient Egypt has long been a place of intrigue and mystery, being held in high esteem during ancient times. In modern times ancient Egypt has once again risen to such a position with many ancient Egyptian-based symbols and iconology being used in modern culture since its birth in the renaissance. Three easily identifiable and commonly used symbols are identified: the ankh, sun-disk and Wadjet Eye. This study attempts to evaluate and explore the extent of the influence of ancient Egyptian symbols and iconography on modern culture as a whole. This is achieved through emic analysis and comparative studies, comparing the context of the original ancient Egyptian symbols (in terms of their symbolic form, origins and meanings/usage) to the modern usage of the same symbols. A comparison between the contexts and usage of these three symbols in ancient Egypt and modern society shows that they are part of a wider trend of “romanticising” ancient cultures to “enchant” our modern culture. / Old Testament and Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)
|
Page generated in 0.038 seconds