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E QUANDO VIER O FILHO DO HOMEM... (O JUÍZO FINAL EM MATEUS) / And when the Son of Man will come The Last Judgment in Matthew 25,31-46.Ferreira, Francisco Albertin 29 August 2006 (has links)
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Previous issue date: 2006-08-29 / The present dissertation discusses the Last Judgment that is a current theme of
investigation. This is due to the fact that the three major monotheistic religions
approach it in their religious essence. In judaism, it is related to the acts of piety
present in the Old Testament; in christianity, to acts of mercy which involve a
compromise of love to God and neighbor and are fundamental for obtaining
salvation; and, in Islam, the good or evil that one practices with his brothers are
important acts for either gaining paradise or ending in hell. In the first part, the
question of text in its context is approached: the social reality of the Roman Empire,
of the judeo-christian community, in Antiocus, and the necessity of solidarity that this
text expresses. In the second part, there is a complete exegesis in all its steps to the
Last Judgment (Matthew 25,31-46), within these, there is the delineation, the
structure, the linguistic configuration, the wording, the characteristics of God present
in the text and much other exegetical informations. In the third part, the updating of
the message of the Last Judgment is presented which has, as its base, three
dimensions: the personal, ecclesiastical and social, where, according to Jesus
teachings, the acts of mercy, practiced in relation to the least of God s creature, here
and now, will be decisive at the Last Judgment, when the Son of Man will judge each
according to his acts. / A presente dissertação discorre sobre o Juízo Final que é um tema atual e
questionador. Isto se deve ao fato das três grandes religiões monoteístas o
abordarem em sua essência religiosa. No judaísmo, está relacionado às obras de
piedade presentes no Antigo Testamento; no cristianismo, às obras de misericórdia
que envolvem compromisso de amor a Deus e ao próximo e são fundamentais para
se obter a salvação; e, no islamismo, o bem ou mal que se pratica com os irmãos
são obras importantes para possuir o paraíso ou acabar no inferno. Na primeira
parte, é abordada a questão do texto em seu contexto: a realidade social do Império
Romano, da comunidade judaico-cristã, na Antioquia, e a necessidade da
solidariedade que este texto expressa. Na segunda parte, há uma exegese completa
em todos os seus passos sobre o Juízo Final (Mateus 25,31-46), dentre estes, a
delimitação, a estrutura, a configuração lingüística, a redação, as características de
Deus existentes no texto e muitas outras informações exegéticas. Na terceira parte,
é apresentada a atualização da mensagem do Juízo Final que tem, por base, três
dimensões: pessoal, eclesial e social, onde, de acordo com os ensinamentos de
Jesus, as obras de misericórdia, praticadas em relação aos mais pequeninos, aqui e
agora, serão decisivas no dia do Juízo Final, quando o Filho do Homem julgará cada
um de acordo com suas obras.
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Uma imagem entre dois mundos: um estudo sobre o mosaico do Juízo Final de Torcello (Veneza - século XI) / An image between two worlds: a study on the Torcellos mosaic of the Last Judgment (Venice 11th century)Souza, Mariana Pincinato Quadros de 17 January 2017 (has links)
A Basílica de Santa Maria Assunta, localizada em Torcello, uma das ilhas que compõem a Laguna de Veneza, abriga um programa iconográfico de três painéis em mosaico, caracterizados como bizantinos. Em um deles, na contrafachada, está figurado o painel do Juízo Final, nosso objeto de estudo. Produzido na segunda metade do século XI, ele inaugura (juntamente com o afresco de SantAngelo in Formis, na cidade de Cápua) a tradição de representação monumental desse tema iconográfico na Itália, aproximando-se do chamado modelo bizantino clássico, encontrado em Constantinopla a partir do século XI. Há, porém, algumas diferenças em relação aos exemplares conhecidos desse modelo bizantino, como o suporte e a localização em uma contrafachada de uma igreja. Assim, nossa preocupação nesta dissertação foi dupla: por um lado, analisar tais diferenças e, por outro, discutir o que levou à escolha deste tema ainda pouquíssimo comum para ornamentar uma igreja, buscando entender seus modos de funcionamento e as funções que desempenhava, tanto na igreja e em seu programa iconográfico quanto na própria sociedade veneziana da época de sua confecção. / The Basilica of Santa Maria Assunta, located in Torcello, one of the islands in the Venetian Lagoon, houses an iconographic program of three mosaic panels, characterized as Byzantine. In one of them, on the counter-façade, is figured the panel of the Last Judgment, our object of study. Produced on the second half of the eleventh century, it inaugurates (together with the fresco of Sant\'Angelo in Formis, in the city of Capua) the tradition of monumental representation of this iconographic theme in Italy, approaching the so-called \"classical Byzantine model\", found in Constantinople from the 11th century. There are, however, some differences from the known examples of this Byzantine model, such as the support and the location on a churchs counter-façade. Thus, our concern in this dissertation was twofold: on the one hand, to analyze such differences and, on the other hand, to discuss what led to the choice of this very uncommon subject to decorate a church, trying to understand its modes of functioning and the functions it performed, both in the church and in its iconographic program, as well as in Venetian society itself at the time of its confection.
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Uma imagem entre dois mundos: um estudo sobre o mosaico do Juízo Final de Torcello (Veneza - século XI) / An image between two worlds: a study on the Torcellos mosaic of the Last Judgment (Venice 11th century)Mariana Pincinato Quadros de Souza 17 January 2017 (has links)
A Basílica de Santa Maria Assunta, localizada em Torcello, uma das ilhas que compõem a Laguna de Veneza, abriga um programa iconográfico de três painéis em mosaico, caracterizados como bizantinos. Em um deles, na contrafachada, está figurado o painel do Juízo Final, nosso objeto de estudo. Produzido na segunda metade do século XI, ele inaugura (juntamente com o afresco de SantAngelo in Formis, na cidade de Cápua) a tradição de representação monumental desse tema iconográfico na Itália, aproximando-se do chamado modelo bizantino clássico, encontrado em Constantinopla a partir do século XI. Há, porém, algumas diferenças em relação aos exemplares conhecidos desse modelo bizantino, como o suporte e a localização em uma contrafachada de uma igreja. Assim, nossa preocupação nesta dissertação foi dupla: por um lado, analisar tais diferenças e, por outro, discutir o que levou à escolha deste tema ainda pouquíssimo comum para ornamentar uma igreja, buscando entender seus modos de funcionamento e as funções que desempenhava, tanto na igreja e em seu programa iconográfico quanto na própria sociedade veneziana da época de sua confecção. / The Basilica of Santa Maria Assunta, located in Torcello, one of the islands in the Venetian Lagoon, houses an iconographic program of three mosaic panels, characterized as Byzantine. In one of them, on the counter-façade, is figured the panel of the Last Judgment, our object of study. Produced on the second half of the eleventh century, it inaugurates (together with the fresco of Sant\'Angelo in Formis, in the city of Capua) the tradition of monumental representation of this iconographic theme in Italy, approaching the so-called \"classical Byzantine model\", found in Constantinople from the 11th century. There are, however, some differences from the known examples of this Byzantine model, such as the support and the location on a churchs counter-façade. Thus, our concern in this dissertation was twofold: on the one hand, to analyze such differences and, on the other hand, to discuss what led to the choice of this very uncommon subject to decorate a church, trying to understand its modes of functioning and the functions it performed, both in the church and in its iconographic program, as well as in Venetian society itself at the time of its confection.
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Románské tympanony Posledního soudu ve Francii / Romanesque tympanums of the Last Judgment in FranceŽďárská, Zuzana January 2013 (has links)
This master's degree written work aims at charting and minute depicting romanesque church tympanums of the Last judgment in France using the accesible bibliography and photographic materials. The main part of the text is devoted to the detailed description of the representative monuments based on the photographic documentation and their detailed iconography. The treatise about these monuments of art is placed in the historical and art-historical context. The regional and typological variations of the forms of art of the monuments are also described. The work describes the characteristic elements of the imagery of the theme of the Last judgment in medieval arts and the evolution of the coherent iconographic themes especially during the romanesque era.
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Sun-symbolism and cosmology in Michelangelo's Last JudgmentShrimplin-Evangelidis, Valerie January 1991 (has links)
A Dissertation submitted to the Faculty of Arts University of the
Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of
Doctor of Philosophy, 1991 / Although the perception of the design of Michelangelo's Last Judgment as
dependent upon a basically circular composition around the figure of Christ has
generally been observed in the literature, no sailsfactory explanation of this has
been presented. In the following hypothesis, a cosmological interpretation of
Michelangelo's Last Judgment proposes new sources for the circular design of the
fresco around a central Apollonian Sun-Christ.
After. an outline of the basic nature of the problem, an examination of
earlier examples of the Last Judgment demonstrates the cosmological associations
of the traditional iconography of the subject, primarily related to the hierarchical
implications! of the 'flat-earth theory,' which places Heaven above and Hell
beneath the earth's surface. Close formal analysis of Michelangelo's own version
of the Last Judgment, which emphasizes the innovative aspects of its organisation,
is then followed by an assessment of various existing interpretations of the work.
In then examining the type of Sources which appear likely to have contributed to
the final programme of the work, different areas of religious, literary and
philosophical material are brought under consideration.
In order to resolve the meaning of the fresco's iconography and
composition, the influences upon Michelangelo of the Catholic religion and
Reform thought, of the writings of Dante, and of Florentine Neoplatonism have
been examined in an entirely new way, from a cosmologicalpoint of view, which
brings to light their common emphasis on the Sun as a eymbol of the Deity. A
new area of potential source material, that of contemporary scientific cosmology,
has also been considered. Prevailing knowledge of Copernicus' theory of the
Sun-centred universe, hitherto dismissed as a possible direct influence by
renowned writers like Charles de Tolnay, on the grounds of chronology, is
specifically discussed and found to be securely documented in Vatican circles at
the time of the commission. Thus the sources finally proposed for the overall
theme of Sun-symbolism and Cosmologyin the fresco are found to 'be dependent
upon the common. ground shared between the Catholic Reformation revival of the
traditional Christian analogy between the Deity and the Sun, the Neoplatonic
cult of Sun-symholism, literary sources in Dante and the scientific theory of
heliocentricity, as developed by Copernicus.
Against this background of the History of Ideas in the Renaissance period,
consideration of art historical methods leads to the suggestion of a newly proposed
Biblical source for the fresco and, finally)l discussion of the deductive method of
art historical intterpretation suggests the broader implications of the hypothesls,
Ii
both for the life and work at Michelangelo himself as well as for the/!
sixteenth-century 'context of the fresco's creation. / MT2017
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Eschatologie u významných teologických postav v období české reformace / Eschatology in the case of eminent personalities in the Bohemian Reformatory movementMüllerová, Anna January 2016 (has links)
The work offers a comprehensive preview of opinion streams on the theme of eschatology, final things or also the end of time , in various stages of the development of human society, whether Jewish or Christian, with an emphasis on the medieval period in the Lands of the Bohemian Crown. Iťs based on the biblical texts of the Old and New Testaments, particularly on the New T estament text of the Book of Revelations. It deals with religious situation in the Middle Ages and simultaneously also with political, cultural and social factors. It reveals certain sources of heretical teachings, especially the Vaudois Church, from which eminent theologists' opinions crystallized and mentions the status of heretics in medieval society. It also covers the teachings of John Wycliffe. The work is divided into six parts, in which eschatological moods and vision that reigned i n contemporary societies are substantiated. It analyses them, and literary woeks document the main ideas and opinions of eminent reformátory scholars, such as for example Milíč of Kroměříž, Matěj of Janov, Master Jan Hus and Petr Chelčický. The work presen ts the teachings of these theological and philosophical personalities in the way that they are linked to one another in the issue of eschatology. The individual parts of the work present and...
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Etude iconographique de la gueule d'enfer au Moyen Age. Origines et symboliques : iconographie et sources textuelles. / Study of iconography of Hell's Mouth in the Middle Ages. Origins and symbolisms.Gonzalez, Julie 16 March 2015 (has links)
À l'opposé du Paradis céleste que rejoignent les élus, les artistes romans ont imaginé le monde de tourments qui attend les pécheurs. Ce lieu de terreur, duquel s'élèvent « des pleurs et des grincements de dents » (Matth. 22, 13), ne peut être illustré sous des formes simples et communes. L'imagerie médiévale, précocement, dès le IXe siècle dans le domaine anglo-saxon, donne à l'Enfer l'apparence d'une tête hybride, la Gueule d'Enfer. Sculpteurs et enlumineurs se sont-ils inspirés de monstres issus des mythologies païennes anciennes et contemporaines ? Sur quelles sources textuelles se sont-ils appuyés pour élaborer ce motif ? Aisément reconnaissable, l'image de la Gueule s'inscrit dans les nombreuses représentations du Jugement Dernier et de la Descente du Christ aux Enfers. Une étude typologique pourra déterminer l'influence de la présence et de l'aspect de la Gueule d'Enfer sur la signification de ces épisodes fondateurs du Christianisme. La Gueule terrifiante devient le symbole même d'un Enfer fantasmagorique et vivant ; elle envahit progressivement toute l'iconographie religieuse et il convient de voir si elle ne modifie pas le sens de nombreux épisodes bibliques. Présente encore à l'époque gothique, la Gueule d'Enfer est transformée par les artistes de la fin du Moyen Âge, avant de disparaître progressivement de l'iconographie religieuse. Si l'Enfer médiéval a suscité de nombreuses études, le motif de la Gueule dévorante a paradoxalement peu attiré l'attention des Historiens de l'Art. Cette thèse tend à combler, au moins en partie, cette lacune. / Opposed to the Celestial Heaven waiting for the blessed, the roman artists invented a netherworld waiting for the sinners. This terrifying place, from where « tears and gnashing of the teeth » arrive (Matth, 22 , 13 ) cannot be illustrated in simple and common ways. As soon as the 11th century, in the anglo-saxon world, Hell was represented as an hybrid head, the Maw of Hell, in the medieval imagery. Did the sculptors and the illuminators get their inspiration from the monsters belonging to the oldest and contemporary pagan mythology ? Which textual sources did they use to elaborate this pattern ? Easily recognisable, the image of the Maw is one of the many representations of the Last Judgment and of Christ's Descent to Hell. A typological study will determine the influence of the presence and the aspect of the Maw of Hell on the meaning of those founding episodes of Christianism. The terrifying Maw became the symbol of a fantasmagoric and real hell slowly invading the whole religious iconography and it is worth wondering if it didn't change the meaning of many biblical episodes. Still present during the Gothic period, the Maw of Hell was changed by the artists of the late Middle Ages, before disappearing slowly from religious iconography. If medieval Hell was the subject of many studies, the Maw of Hell surprisingly attracted few Art History researchers. This thesis partially tries to fill this gap.
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A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European ArtSandoval, Elizabeth Marie 08 October 2018 (has links)
No description available.
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The Virgin and Hell: An Anomalous Fifteenth-Century Italian MuralLeist, Marnie 28 September 2005 (has links)
No description available.
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IL GIUDIZIO UNIVERSALE DI MICHELANGELO TRA ICONOGRAFIA E COMMITTENZA PAPALE: IL GRUPPO DEI MARTIRI / Michelangelo's Last Judgment between iconography and papal patronage: the martyrs' groupALBERIO, ELENA 25 February 2016 (has links)
La presente ricerca si concentra sul gruppo dei santi martiri nell’affresco del Giudizio Universale dipinto da Michelangelo Buonarroti per la parete d’altare della Cappella Sistina. Il gruppo riveste un ruolo importante nella composizione sia per quanto concerne l’inedita iconografia e rilevanza nel contesto dell’Ultimo Giudizio sia per ciò che riguarda i significati dell’affresco. La presente indagine si propone attraverso una ricostruzione della committenza papale dell’opera, divisa tra Clemente VII e Paolo III, di contestualizzare la presenza dei martiri nell’iconografia del Giudizio ponendola a confronto con la tradizione figurativa precedente e relazionando, infine, il tema del martirio ai protagonisti di questa commissione, nel più ampio quadro della Chiesa del XVI secolo. / This research focuses on the martyrs’ group depicted by Michelangelo Buonarroti in the Sistine Chapel’s Last Judgment. This group has an important role in the composition thanks to its new iconography in the Last Judgment subject and to its significance in the meaning of the fresco.
This thesis, reconsidering the papal patronage of pope Clement VII and Paul III, wants to underline martyrs’ role in Last Judgment iconography, comparing it with the previous figurative tradition and to relate the theme of martyrdom with the protagonists of this artistic commission into the wider context of sixteenth century Church.
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