La presente investigación se ha realizado con la finalidad de diseñar una colección de moda a partir del estudio teórico y visual de los textiles en la cultura Chancay. Para ello, se identificaron los tipos de textiles, las formas y figuras que componen la iconografía de los textiles, el contexto religioso en el cual se desarrollaron y el significado de la representación de cosmovisión. Luego se realizó una colección de indumentaria genderless a partir del análisis visual de los textiles basado en los diseños geométricos irregulares, estructuras del tejido, colores implementados y texturas táctiles. Esta investigación proporcionará un punto de partida para una mayor aproximación hacia los textiles arqueológicos de la cultura Chancay. / This research has been carried out in order to design a fashion collection based on the theoretical and visual study of textiles in the Chancay culture. For this, the types of textiles, the forms and figures were identified as a part of the textiles iconography, the religious context in which they were developed and the meaning of the representation of world view. Afterwards a genderless clothing collection was made from the visual analysis of textiles based on irregular geometric designs, fabric structures, implemented colors and tactile textures. This research will provide a starting point for a greater approach towards the archaeological textiles of the Chancay culture. / Trabajo de investigación

The Gorgon is a creature described as terrible in ancient literature. It was depicted with glaring eyes, tusks and a hanging tongue and was a part of Greek antiquity from Archaic to Roman Period. The Gorgon motif has frequently been adorned on different materials. The reason as to why such a creature was depicted has been a subject of interest in earlier studies. The Gorgon motif has been elaborately studied in combination with buildings, armours and vases. A gap of knowledge that is still to be filled is a deeper examination of the Gorgon motifs on coins, which is the inspiration for this study in which the main aim is to approach an understanding of what function the Gorgon motif could have had on Archaic Greek coins. The study is based on a collection of 42 Archaic coins from Athens and Neapolis in Macedon. Through Panofsky's theory of iconography the material is analyzed and discussed via a series of sub-questions; ‘Did the Gorgon motifs differ depending on the location?’, ‘What combination of features appear on the coins?’, ‘To what extent was the Gorgon myth linked to the locations that used the motif and what other myths were used on coins during the same period? ’, ‘Is there a link between the use of Gorgon motifs on coins and on other material objects?’ The paper measures the possible explanations of the Gorgon motif with archaeological finds and ancient texts dealing with the Gorgon, many of which point to the fact that the Gorgon’s function generally served a purpose as an apotropaic symbol. Its function as a possible amulet is investigated using previous research that studies the symbolic significance of the Gorgon, as well as tracing its background and examination of the Gorgon myth to find possible connections with other mythical creatures. / Gorgonen är en varelse som beskrivs som fruktansvärd i den grekiska antikens litteratur. Den avbildas med stirrande ögon, betar och en hängande tunga. Gorgonen har varit en del av den grekiska antiken sedan dess början och har varit ett populärt motiv på olika material. Det har funnits stort intresse i tidigare studier kring anledningarna till att en sådan varelse valts att avbildas. Motivet har studerats omsorgsfullt när det har smyckat byggnader, rustningar och vaser. En lucka som inte har fyllts än inom ämnet är en djupare undersökning av gorgonmotiven på mynt, vilket även är ämnet för denna studie med syftet att närma sig en förståelse för de funktioner som Gorgonmotiven fyllde på mynt under arkaisk grekisk tid. Studien baseras på ett urval av 42 arkaiska mynt från Aten och Neapolis i Makedonien. Genom Panofskys trestegsmodell analyseras gorgonmotiv som framkommer på mynten och svarar på en rad viktiga underfrågor: Skiljer sig gorgonmotiv åt mellan platser Vilka kombinationer av gorgoner förekommer på mynten? I vilken utsträckning var gorgonmyten kopplad till de platser som använde motivet, vilka andra myter användes på mynten under samma period? Finns det ett samband mellan användningen av gorgonmotiv på mynt och på andra objekt? I uppsatsen bedöms möjliga förklaringar till gorgonmotivet med arkeologiska fynd och antika texter som behandlar gorgonen, varav många pekar mot att gorgonens funktion i allmänhet fyllde ett apotropeiskt syfte. Detta undersöks med hjälp av tidigare forskning av gorgonens symboliska betydelse samt kopplingen med andra mytiska varelser genom att spåra dess bakgrund och granskning av gorgonmyten.

Le Vieux Dieu serait une divinité du feu qui apparaît dès le IXe siècle avant notre ère et qui serait encore présente dans le panthéon des anciens Mexicains à l'arrivée des Espagnols, où elle adopterait alors les noms de Xiuhtecuhtli ou Huehueteotl. L'intérêt de cette thèse est d'entreprendre une étude diachronique, à travers l'ensemble des Hauts Plateaux mexicains, de ce ou de ces dieux et d'en comprendre les évolutions et les interactions afin de répondre à une question principale : sommes-nous en présence d'une seule et même divinité du feu depuis le Préclassique Moyen (-1200 – 500 av. J.-C.) jusqu'à l'arrivée des Espagnols en 1521 ? L'aspect diachronique et pluridisciplinaire de ce travail oriente notre approche et notre méthodologie puisque les données de la période Postclassique Récent seront analysées à la lumière des informations ethnohistoriques et ethnographiques. Le corpus des époques précédentes sera traité de façon systématique par une approche structurelle, technique, iconographique et, finalement, symbolique. / The Old God would probably be an igneous divinity, appeared since 9th century BC and which would have been already present in the Pantheon of the former Mexicans upon the arrival of the Spaniards. There, it would have adopted the names of Xiuhtecuhtli or Huehueteotl. The interest of this thesis is to undertake a diachronic study, through all the mexican Highlands, about this or these gods, to understand the evolutions and the interactions and finally to answer a main question : is there only one and the same divinity of fire since Middle Formative until the arrival of the Spaniards in 1521 ? The diachronic and multidisciplinary aspect of this work directs our approach and our methodology as the data of Late Postclassic will be analysed thanks to ethnohistorical and ethnographic information. The corpus of former times will be handled in a systematic way by a structural, technical, iconographical and finally symbolic approach.

Scenes involving the breaking or outright inversion of culinary and (com)mensal norms are frequent in Greek art of the Archaic and Classical periods. The most discussed group of such images involves the uncivilized act of binge drinking unmixed wine and, as a result, losing control of one’s mind and body. Far less studied from an iconographic perspective are scenes of cannibalism, the most extreme and unsettling of all Greek culinary taboos. This paper seeks to define the iconography and meaning of cannibalism in Greek art through an exploration of the individual and shared compositional features of anthropophagic scenes and their visual relationship to normative images of meat consumption. Analytical attention will also be given to the objects on which these scenes appear and the relationship between the scenes and any other decorative content. Of particular interest is the way in which the iconography reflects cannibalism’s association with other serious normative violations, for example, infanticide (e.g., Prokne slaying her son Itys) and inhospitality (e.g., the Egyptian pharaoh Bousiris attempting to sacrifice his guest-friend Herakles). [The manuscript is currently being developed into an article to be submitted for publication consideration, probably in winter 2021.]

The present master thesis focusses on the iconography of the decorative programme of Macedonian tombs dated from the second half of the 4th century BCE to the first half of the 2nd century BCE. The main objective is to detect the artistic principles of the Macedonian art applied to funerary monuments of local elites. To attain this aim it is necessary to adopt a complex approach which would allow for analysing in detail the various tomb decoration types; such an approach has never been applied so far. The main research tool used throughout this thesis is a profound analysis of individual elements of the tombs' decoration. The study is specifically concerned with the frequency of the individual motifs, their chronological development, and their possible meanings. Other questions include the iconographical differences between male and female tombs, variations between royal and aristocratic sepulchres, comparison of profane and funerary art, and last but not least, the possible transference of motives both from or to other cultural areas. Keywords: iconography, Ancient Greece, Macedonia, Hellenistic period, tumulus, tombs, wall-paintings

The diploma thesis deals with the iconography and cult of St. Joseph in the Czech lands during the Baroque period. The first part of the thesis deals with the way St. Joseph is presented in sources, namely in canonical gospels, apocryphal gospels of childhood and in legends. The development of the cult and iconography of St. Joseph from antiquity to modern times is also outlined. The main part of the thesis focuses on the cult and iconography of St. Joseph in the Czech lands in the 17th and 18th centuries. The influence of the Habsburgs on the spread of this cult is taken into account. Attention is paid to the reception of St. Joseph among the patron saints of Bohemia and the introduction of his public holiday in 1654, which arose on the initiative of Emperor Ferdinand III. The next part of the thesis analyzes the responses to the reception of St. Joseph among the patron saints of Bohemia in art and also on the examples of his depiction in Baroque art in the Czech lands. The researched monuments include the fountain with the column of St. Joseph in the New Town of Prague, the statue of St. Joseph on Charles Bridge, painting of the Holy Family in the Church of Our Lady before Týn and the St. Joseph's painting cycle in Krzeszów in Silesia. Keywords St. Joseph, Baroque, Iconography, Cult, Habsburgs,...

The Master's thesis is focused on research of the Italian academic discourse from the years 1891-2008 dealing with the influence of the visual culture of Ravenna on Dante's Divine Comedy. One of the scholars that can be placed in the context of Italian discourse is the philologist and aesthetician Jaroslav Hruban, the only Czech scholar who occupied himself with the relationship between Dante and Ravenna and continuously followed up the development of the interwar Italian Dantology. The thesis puts forward two questions: how the scholars of the Italian academic discourse and Jaroslav Hruban reflect the relationship of Dante and Ravenna, and if we can trace the influence of the visual culture of Ravenna (especially of the mosaics from the 5th and 6th centuries) in the text of Dante's Divine Comedy. The questions are solved by application of the historiographic methods that were used to examine Italian Dantology, the methods of literary studies and art history by which analysis and comparison of the text and imagery were performed, and also the methods of visual culture that were used to reconstruct the image of Ravenna during the time of Dante's stay in the town and his "period eye". The scholars believe that the inspirational influences of the Ravenna mosaics and visual culture on Dante's Divine...

Depuis la moitié du XXe siècle, de nombreux chercheurs se sont penchés sur les objets et images laissés par les peuples précolombiens comme les Mochicas afin d’essayer de reconstruire ces anciennes cultures. Avec cette recherche, nous nous inscrivons dans la lignée de ces chercheurs en tentant de reconstruire le portrait de l’ontologie analogique telle que développée par les Mochicas (250-900 EC) en utilisant les représentations de crabes réalistes comme mythologiques sur le médium céramique comme sujet d’étude. Nous employons les théories de Philippe Descola, autant en ce qui concerne une définition du concept d’ontologie analogiste que pour les formes traditionnelles d’expression figurative de cette ontologie, afin d’établir une base théorique pour notre analyse. Notre étude se concentre sur un corpus de 251 céramiques que nous avons analysé pour leurs qualités formelles, iconographiques et techniques chacune de ces trois catégories nous ayant permis de mettre en lumière de riches relations ainsi qu’une panoplie d’analogies complexes. La forme des céramiques nous permet de mettre en évidence l’omniprésence visuelle de la structure analogique de l’univers mochica dans leur quotidien ainsi que les réseaux d’objets établis à travers l’espace et au coeur des différentes traditions stylistiques. L’iconographie des crabes se présente particulièrement appropriée pour cette recherche car ces êtres se situent au coeur d’un espace liminal où de nombreuses dualités se croisent. En effet, les dualismes se révèlent comme une base permettant à l’analogisme d’éclore. Les crabes sont aussi des êtres entretenant un certain nombre de relations complexes avec différents animaux et personnages mythologiques comme le Dieu à ceinture de serpents pour n’en nommer qu’un. Ainsi, les crabes occupent une place particulière au sein de la chaîne des analogies caractérisant le cosmos mochica, une chaîne qu’ils parviennent à naviguer de manière très fluide. C’est finalement avec l’étude des techniques de traitement de l’iconographie que nous parvenons à mettre en avant les analogies et relations consciemment entretenues par les potiers mochicas, ceci fait dans le but d’orienter la lecture des objets dans un sens bien précis. Ainsi, en employant ces trois catégories, nous décortiquons les différentes composantes de l’expression de l’analogisme au coeur des traditions stylistiques mochica. Avec cette recherche, nous cherchons notamment à mettre en valeur l’importance d’étudier l’art mochica de manière holiste, soit en analysant toutes les composantes de l’objet ensemble et non simplement l’image présentée dessus et ce, en lien avec différents facteurs culturels et environnementaux. / Since the mid-twentieth century, many scholars have taken a closer look at the objects and images left by pre-Columbian peoples such as the Moche in an attempt to rebuild the profiles of these ancient cultures. With this research, we follow in the footsteps of these scholars by attempting to reconstruct the portrait of the analogic ontology as developed by the Moche (250- 900 CE) using realistic as well as mythological representations of crabs on the ceramic medium as our subject of study. We use the theories of Philippe Descola, both for a definition of the concept of the analogist ontology and for the traditional forms of figurative expressions of this ontology, to establish a theoretical basis for our analysis. Our study focuses on a corpus of 251 ceramics that we have analyzed for their formal, iconographic and technical qualities, each of these three categories having allowed us to bring to light some rich relationships as well as a panoply of complex analogies. The shape of the ceramics allows us to highlight the visual omnipresence of the analogic structure of the Moche universe as well as the networks of objects established across space and different stylistic traditions. The iconography of the crabs is particularly appropriate for this research because these beings are located in the heart of a liminal space where many dualities cross. Indeed, we will see that the dualisms, particularly important within the Moche cosmovision, reveal themselves as a base allowing the analogism to bloom. The crabs are also beings that maintain a number of complex relations with different animals and mythological characters such as the Snake Belt God, to name but one. Thus, the crabs hold a particular place within the chain of analogies characterizing the Moche cosmos, a place that they manage to navigate in a very fluid way. It is finally with the study of the techniques of treatment of the iconography that we manage to highlight the analogies and relationships consciously maintained by the Moche potters, this with the aim of orienting the reading of the objects in a very precise way. Thus, using these three categories, we unravel the different components of the expression of analogism at the heart of Moche stylistic traditions. With this research, we seek to emphasize the importance of studying Moche art holistically, that is, by analyzing all the components of the object together and not just the image presented on it, in relation to various cultural and environmental factors.

The Venetian veduta or view, became popular in the Settecento when Venice had turned into a regular stop on the Grand Tour. The foreign market’s interest in vedute, prompted Venetian artists to follow in Canaletto’s path. Francesco Guardi (1712-1793) is today famous for such views, and his paintings hang in museums around the world. One of his vedute, Piazza San Marco, Venice, was bought by the Nationalmuseum in Stockholm in 1964. In 1990, however, the Nationalmuseum changed the attribution of the painting. What prompted such a change? This thesis critically discusses the difficulty of attribution and dating of vedute in the Eighteenth century, specifically of paintings by the artist Francesco Guardi. Moreover, it presents and examines the strengths and weaknesses of the different attributional methods based on documentary, stylistic, topographic and technical approach, and with what success scholars have used them to establish a chronology of Francesco Guardi's oeuvre. Due to its well documented history, the painting, Piazza San Marco, Venice, will serve as a case study for the difficulties of attributing and dating Francesco Guard’s vedute, and the thesis will present evidence to Piazza San Marco, Venice,’s authenticity as a Francesco Guardi autograph.

This thesis aims at providing a literature review of the academic debate regarding the use of childhood iconography in the humanitarian sector. This topic is not new and has been broadly discussed by academics since decades. Therefore, by using the alreadyexisting literature on the subject, this paper provides an in-depth understanding of the main arguments and controversies that have been made regarding the use of such images in the humanitarian field. In order to do so, it analyzes two famous pictures which produced considerable discussion in the research field: “The Struggling Girl” taken by Kevin Carter in South Sudan, in 1993 and “Alan Kurdi” photographed on a Turkish beach by Nilüfer Demir, in 2015. Overall, the study of the discourses generated by these two photographs exemplifies the diverging opinions of scholars on the topic and sheds light on the power relations and stigmas that persist within the humanitarian sector.