Thesis (Ph. D.)--Brown University, 1992. / Includes bibliographical references (leaves 406-439).

Thesis (Ph.D.) - University of St Andrews, May 2009. / Electronic version restricted until 29th May 2011.

Thesis (M.A.)--University of Delaware, 2005. / Principal faculty advisers: H. Perry Chapman & David M. Stone, Dept. of Art History. Includes bibliographical references.

Thesis (M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The Deploration cycle includes those scenes which deal with the Descent from the Cross, the Lamentation, and the Entombment. In the fifteenth and sixteenth centuries, the distinctions between these scenes become minimized in the Netherlands, and the dominant theme results as the lamenting over the dead Christ. This paper examines the iconography of this theme in the Deploration cycle in this period of Netherlandish painting. The earliest literary sources for the Deploration cycle are the passages dealing with the theme in the writings of the Evangilists. After these, the first literary description of the scene of the lamentation itself seems to be in the Sermons of Georges de Nicomedie in the ninth century. The scene is described in greater detail in the thirteenth century in the Meditations on the Life of Christ formerly attributed to St. Bonaventure; from this description a division of types may be made in the paintings under discussion. Contemporary mystical literature also influenced the iconography of the paintings of this period. Not only is the general atmosphere of intimacy amd spirituality similar in the literature and the paintings, but points of iconography were also established in the writings of the Mystics, as, for instance, in the Meditations on the Life of Christ by Thomas A Kempis, in the fifteenth century. Mystical literature of the period also dealt with the theme of the Sacred Heart: the idea that the wound in Christ's side was opened in order to permit the sinner to enter into His Sacred Heart. Although the bloody side wound is shown in most of the scenes treated in this paper, it never gains the predominance that it does in scenes of the Man of Sorrows. Therefore, the direct influence of this phase of mystical literature on the scanes of the Deploration cycle is doubtful. The scenes of the Lamentation are considered first in the paper, followed by those of the Descent and the Entombment. The sources in painting for all three subjects may be found in illustrated manuscripts executed in the "International Style". The fifteenth-century scenes of the Lamentation are divided into four general categories: the Pieta' proper, including only the Virgin and dead Christ; the Pieta group surrounded by other figures; the representation of Christ on a shroud; supported by Joseph of Arimathaea, St. John, or the Virgin; and the depiction of half length figures bewailing the dead Christ. In the first category, the Virgin usually sits upright with the dead Christ on her lap, but in the second she may either sit upright or lean down to kiss Him. One composition of the Virgin kissing Christ was so influential that it was repeated and reinterpreted many times: the Lamentation at the Royal Museum in Brussels, attributed to the workshop of Roger van der Weyden. The third category corresponds to the second moment described in the thirteenth century Meditations, when Christ lies on a sheet after having been prepared for the tomb. All of the works of the last category, of half-length figures, were influenced by a lost composition by Hugo van der Goes. In the sixteenth-century scenes of the Lamentation, the same general categories may be followed, with the addition of two types: Christ being supported on a sheet by both the Virgin and St. John, and His being supported without a sheet by a Holy Woman. Descriptions of the Descent from the Cross also occur in the Meditations already mentioned. In the fifteenth-century scenes, the first category includes those scenes which are depicted in full length, and may be divided into two types: those in which the Virgin faints and those in which the Virgin kisses the hanging right hand of Christ. The second category, including scenes representing half-length figures, is closest to the spirit of the Lamentation. In these, Christ is depicted in a vertical position, in constrast to His horizontal position in the half-length Lamentations. At least twenty copies of a lost composition by Roger may be classified under this type. The sixteenth-century Descent scenes may also be divided into full-length and half-length representations. A third type in the first category includes those scenes in which the Virgin neither faints nor kisses Christ's hand. Few examples of the Entombment exist in this period of painting in the Netherlands. The reason for this fact is that the themes of the Lamentation and that of the Entombment are essentially the same; it has even been suggested that the former grew out of the latter. The fifteenth-century scenes are represented by two examples of the horizontal Italian type of Entombment, a unique "Last Farewell before the Entrance to the Sepulcre" by Roger, and three works in which the body of Christ is being carried into a gaping hole in a rock. The first three examples of the scene in the sixteenth century include works in which Christ is being lowered into a diagonal, foreshortened sarcophagus. The last example in this century is a unique work with threequarter-length figures. The sixteenth-century scenes of the Deploration cycle generally show a decrease in emotionality from those of the fifteenth. The influence of these scenes in both centuries may be recognized in the numerous copies of lost works, as well as in the carrying over of the dead Christ on the Virgin's lap to other countries. The cycle of the Deploration scenes in this period of Netherlandish art is united not by the contemplation of the sacred Heart, but by the theme of the grieving over the crucified Christ. / 2031-01-01

Ph.D. (Art History) / By applying Panofsky's method of iconological analysis to Maggie Laubser's interpretation of motifs I could ascertain the following: * Christian Science played a decisive role in the development of her symbolic language; * the great mother archetype, as defined by Erich Neumann, features dominantly in her art; 'k Laubser's use of light is not purely painterly, but has symbolical and mythical implications; * the scenes depicting harvesting at the Cape or in the Orange Free State have besides historical also religious and symbolic connotations.Christian Science discerns the threefold character of ·God as the Fathe~ as the Son and as; the Mother. In analyzing Laubser's interpretation of the shepherd image, the aged shepherd, who corresponds to Saturn or Father Time, is the father who disposes of life and death. The young shepherd corresponds to the Good Shepherd though he has no physical contact with the sheep in his fold. The motherhood of God is demonstated by using an African woman in the untraditional working situ~tion of herding sheep. By juxtaposing the woman, with a child on her back, and a hut the image of provision which corresponds to the image of God as Mother is procured. Laubser explores the different phases of womanhood which embraces not only motherhood but also the possibility of rebirth through woman as goddess. In portraying the divine union where earth and heaven are united in the hieros gamos, Laubser explores the different implications of light. Her use of light motifs is not restricted to the depiction of either the sun or the moon. Buddha, the Enlightened Being and symbol of radiant light is incorporated instill lives so that the sun is brought within the eonfines of the interior. The ca t , ancanLmaLias socLa ted wi th the moon, later on substitutes the statuette of Buddha in still lives. In this way one can discern between work belonging to a sun period and work belonging to a moon period. Though harvesting signifies the end of a cycle and the reaper is seen as a symbol of death, Laubser uses cloud and child motifs to symbolize regeneration...

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蕭瑋文. / 論文(哲學博士)--香港中文大學, 2001. / 參考文獻 (p. 257-267) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Xiao Weiwen. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (p. 257-267) / Zhong Ying wen zhai yao.

論文(哲學碩士)--香港中文大學硏究院藝術學部,1994. / 參考文獻: leaves 170-180 / 李桂芳撰. / 緖論 --- p.1 / Chapter 上篇 --- 黎簡的時代、生平及交游 / Chapter 第一章 --- 槪說 --- p.7 / Chapter 第二章 --- 黎簡身處的時代與社會背景 --- p.13 / Chapter 第三章 --- 生平經歷 --- p.23 / Chapter 第一節 --- 專注修習詩文的年少時期 / Chapter 第二節 --- 耿直倔強和淡泊名利的性情 / Chapter 第三節 --- 面對理想與現實間之矛盾的中年時期 / Chapter 第四節 --- 體弱多病的晚年時期 / Chapter 第四章 --- 交游舉要 --- p.43 / Chapter 第一節 --- 賞識黎簡的前輩學者 / Chapter 第二節 --- 交往密切的同輩摯友 / Chapter 第三節 --- 傳頌與承接黎簡藝術造詣的後輩友人 / Chapter 下篇 --- 黎簡的山水繪畫藝術 / Chapter 第一章 --- 槪說 --- p.70 / Chapter 第二章 --- 藝術淵源 --- p.72 / Chapter 第一節 --- 現存黎簡最早的傳世畫蹟 / Chapter 第二節 --- 求問於古人的不斷探索 / Chapter 第三章 --- 具傳統文人意識的繪畫觀 --- p.111 / Chapter 第一節 --- 「士夫之致」與「詩書之味」 / Chapter 第二節 --- 從師法自然到求趣象外 / Chapter 第三節 --- 寓胸中奇氣於筆墨之間 / Chapter 第四節 --- 「要於作畫一通禪」 / Chapter 第四章 --- 畫風分析 --- p.126 / Chapter 第一節 --- 畫蹟討論 / Chapter 第二節 --- 綜論畫風特色之演變 / Chapter 第五章 --- 畫藝評價 / 附錄一黎簡的人物畫 / 附錄二 黎簡作品編年表 --- p.152 / 附錄三黎畫的眞僞問題 --- p.166 / 參考書目 --- p.170 / 附圖部份 --- p.181