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1	The Individual Behind The Image Female Idols In Their Various Forms Nuss, Patricia Lois 01 January 2011 (has links) The research investigated the artistic and photographic processes corresponding with two studies motivated by the artist's personal history and focused on the role, affect, and history of various female idols represented in art history, religion, and modern American popular media. The first part of the study documented female models as they were simultaneously asked by the artist to think of a range of personal but nonspecific moments from her life, the women were asked not to share their thoughts, only the moment spent thinking, with the artist. The second part of the study documented aspiring models as they awoke during sunrise in the nightwear they slept in (fig 1). This study incorporated landscapes near the models home. A similar notion is iii exemplified between the two studies as the models are asked to procure an intimacy with the photographer and in consequence with the viewer. The written part of the study gathered information regarding the female idols presence in a variety of cultures and eras, which transitioned to question the female idols current role in western culture. Findings showed that all idols stress an approved appearance, behavior and morality; furthermore research shows that the modern female idol stresses an importance on appearance more than any other factor. The research continued by breaking down the importance of a viewer-subject relationship in iconography and other artworks. A focus was made on what factors might create this viewer-subject relationship, and furthermore what do the subtleties of the subject tell the viewer. Reference of the artist's memories of an inconsistent female role model in her own life combined with the idols that were constantly solicited by the media resulted in this investigation. A positive relationship was found between the photographic process and the study of models in personal moments. Idols and images Idols and images in art Photography Women in art Photography
2	The domestication of the cross symbolism and images in Andean Peru / Costa, Roberto, January 1995 (has links) Thesis (M.A.)--Catholic Theological Union at Chicago, 1995. / Vita. Includes bibliographical references (leaves 177-179).
3	神像的創生: 漢代西王母圖像研究. / Emergence of the human religious icon in early China: Xiwangmu image during the Han period (206 B.C.-220 A.D.) / 漢代西王母圖像研究 / CUHK electronic theses & dissertations collection / Shen xiang de chuang sheng: Han dai Xiwangmu tu xiang yan jiu. / Han dai Xiwangmu tu xiang yan jiu January 2010 (has links) 王蘇琦. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 357-385). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wang Suqi. Gods, Chinese, in art Gods, Chinese, in art--Case studies Graphic arts--History Idols and images in art Idols and images in art--Case studies Xi Wang Mu (Taoist deity)
4	Liberation through Salvation: the Medieval Western European and South African experiences (1860 to 1994) compared through a selection of religious iconography Arthur, Duncan Malcolm 31 October 2007 (has links) The medieval period (approximately 800 to 1300 AD) in Western Europe is noted for its rich tradition in religious Roman Catholic iconography. Frequently the only art works to be produced in the period, or to have survived, are religious icons of the period reflecting the dominant nature of the feudal structure of society and the oppressive circumstances that led to their execution. The works can be seen as a means of escape, although in an afterlife, or they might also be interpreted as a protest against the oppressive nature of the condition of the artist. The "rigidity" of a medieval existence and the utilisation of religious art as a means of expressing unhappiness with that existence may, as it is argued here, be interpreted as a means of protest. Rigid and oppressive political structures are not isolated to any particular historical period. South Africa too was an oppressive society where the material and political advancement of the majority of the population was stifled through discriminatory legislation and similar means making meaningful protest difficult, if not dangerous. This dissertation argues that religious art too became a means of protest in a manner intended to reflect the religious viewpoints of the artist but with political intentions and subtext. Similar themes in modern South African iconography (from approximately 1850 to 1994) and medieval prototypes are therefore discernible. / History / M.A. (History) 704.9482 Liberty in art Art and religion -- Europe Art and religion -- South Africa Idols and images in art South Africa -- History
5	Liberation through Salvation: the Medieval Western European and South African experiences (1860 to 1994) compared through a selection of religious iconography Arthur, Duncan Malcolm 31 October 2007 (has links) The medieval period (approximately 800 to 1300 AD) in Western Europe is noted for its rich tradition in religious Roman Catholic iconography. Frequently the only art works to be produced in the period, or to have survived, are religious icons of the period reflecting the dominant nature of the feudal structure of society and the oppressive circumstances that led to their execution. The works can be seen as a means of escape, although in an afterlife, or they might also be interpreted as a protest against the oppressive nature of the condition of the artist. The "rigidity" of a medieval existence and the utilisation of religious art as a means of expressing unhappiness with that existence may, as it is argued here, be interpreted as a means of protest. Rigid and oppressive political structures are not isolated to any particular historical period. South Africa too was an oppressive society where the material and political advancement of the majority of the population was stifled through discriminatory legislation and similar means making meaningful protest difficult, if not dangerous. This dissertation argues that religious art too became a means of protest in a manner intended to reflect the religious viewpoints of the artist but with political intentions and subtext. Similar themes in modern South African iconography (from approximately 1850 to 1994) and medieval prototypes are therefore discernible. / History / M.A. (History) 704.9482 Liberty in art Art and religion -- Europe Art and religion -- South Africa Idols and images in art South Africa -- History
6	Ikonografiese studie van Ou Nabye-Oosterse ivoor gedurende die Ystertydperk, 1200 v.C. - 538 v. C. Grobler, Estelle Cornelia 02 1900 (has links) Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf. / The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images. / Biblical & Ancient Studies / M.A. (Ou Nabye-Oosterse Studies) Ou Nabye Ooste Ivoor Ystertydperk Boom van Lewe Gevleuelde spirituele wesens Gevleuelde sonskyf Ikonografie Simbolisme Klipreliëfs van Nimrud Roset simbool Ancient Near East Iron Age Ivory Tree of Life Winged spiritual beings Winged disc Iconography Symbolism Stonereliefs from Nimrud Roset symbol 709.94809394 Middle East -- Antiquities Bible. Old Testament -- Antiquities Iron Age -- Middle East Archaeology and religion -- Middle East Idols and images in art
7	Ikonografiese studie van Ou Nabye-Oosterse ivoor gedurende die Ystertydperk, 1200 v.C. - 538 v. C. Grobler, Estelle Cornelia 02 1900 (has links) Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf. / The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images. / Biblical and Ancient Studies / M.A. (Ou Nabye-Oosterse Studies) Ou Nabye Ooste Ivoor Ystertydperk Boom van Lewe Gevleuelde spirituele wesens Gevleuelde sonskyf Ikonografie Simbolisme Klipreliëfs van Nimrud Roset simbool Ancient Near East Iron Age Ivory Tree of Life Winged spiritual beings Winged disc Iconography Symbolism Stonereliefs from Nimrud Roset symbol 709.94809394 Middle East -- Antiquities Bible. Old Testament -- Antiquities Iron Age -- Middle East Archaeology and religion -- Middle East Idols and images in art

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