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This thesis aims to contribute towards a better understanding of what the Byzantines experienced in church spaces. By thoroughly mapping users' encounters with the church of Hagia Sophia in Constantinople in the sixth-century, it examines whether the experience of the architectural space during the Eucharistic ritual augmented a religious experience, which in turn, influenced the way the Byzantines talked about their spiritual experience whilst being in a church, and thought of their churches as ‘heaven on earth.' It places textual evidence alongside architectural evidence. The basic approach of this thesis is rooted in phenomenology and multisensory perception of space. In the first chapter, I make a case for the necessity of studying the textual evidence in light of the spatial experience of the building. I suggest that the concept of ‘archi-text' is key to answering the question of what was a church in sixth-century Byzantium. Developed in three chapters, the textual analysis focuses on sixth-century ekphraseis of Hagia Sophia written by Procopius of Caesarea and Paul the Silentiary, and the inauguration kontakion composed for the church dedication. In the first two chapters, I examine how the spatial perception of the church influenced the way Hagia Sophia was described. In the next chapter, I explore how the Byzantines thought of the church in symbolic and theological terms. The literary analysis concludes that Hagia Sophia was perceived as a centralised space and represented as a ‘heaven on earth.' These two points are further scrutinized all through the spatial analysis of the church. The final chapter links the Byzantines' symbolic representation of the church to the architectural physicality of Hagia Sophia.

This thesis deals with the life and artwork of sculptor Čeněk Vosmík (1860 - 1944). Thesis contains an overview and evaluation of his artworks in the context of his time. Vosmík's artistic creation is followed from the beginning, which he spent studying in Vienna, through the period of the first successes and early artwork to the stage of his later artworks, when he devoted himself primarily to the religious art. Besides of the religious art thesis deals also with the allegorical, decorative and portrait work as well as restoration works. They are not neglected nor his unrealized proposals of works of art. Is especially emphasized Vosmík's early period of arts and his most important sculptures - The reprobate, The shepherd with bull and The Christ in the desert. Thesis also includes a comprehensive inventory of his art work. Keywords Čeněk Vosmík, sculpture, religious art, allegorical and decorative arts, portraits

The premise of this thesis is that the ???concrete holographic image???, a laser transmission hologram which has an object or a hologram of an object as its subject, has unique spatial and temporal properties which can suggest a plurality of tenses to a viewer. There is a lack of comprehensive analysis of the holographic representational system within art related theoretical and critical writing and a tendency to analyse individual works only in terms of generalities which apply to the concepts surrounding the holographic medium. While these form an important background for art image production, in some cases corresponding to artists works, the existing written material on the subject is inadequate as a model from which to draw the all important temporal conclusions. To date the critical reception of holograms has made no mention of acuity, the size of the viewing frustum, the depth of the image and scant mention of interference phenomena which are the intrinsic factors which I believe precipitate temporal illusions. Therefore this thesis examines the concrete holographic image in great detail on its own terms, firstly through theories of the basic image forming phenomena of interference and diffraction and secondly through the techniques of production as they have been adapted for the making of my art works. The extent of the metaphorical and allegorical potential of the spatial and temporal properties of the concrete holographic image are put to the ultimate test in a commission for St Brigid???s Church, Coogee. The Shrine of the Sacred Heart commission for St Brigid???s requires a concrete holographic image to facilitate devotion to the Sacred Heart. The Sacred Heart is not a physical thing but a complex, evolving spiritual entity with a realist pictorial history.

This study involved pre-service elementary educators' attitudes towards curriculum on Islamic religious art. The research question, Will the attitudes of pre-service teachers change towards Islam and Muslims after being exposed to the key components of Islamic religious art: Masjid (mosque) architecture, nonrepresentational designs, and calligraphy, when taught in relation to Islamic culture? Most of the students knew very little about Islamic culture and some were distrustful of anything Muslims produced. The students easily assimilated the material and were able to create their own lesson plans on Islamic religious art and write research papers on varying aspects of the art form. This curriculum utilized the belief that the language of art connects with most people. During the course of this study the reactions of participants went from distrustful to appreciative of Islamic art and culture. Understanding of Islam and its culture could be considered essential in this day and age, specifically in the United States and education is the field which can be pivotal in creating this comprehension. Simultaneous education of students, teachers and parents is necessary to explain this segment of society in an accurate manner. Further research is essential to determine if art specialists, in-service teachers, parents, and administrators of educational institutions would support a curriculum on Islamic religious art for use by mainstream teachers as well as art educators.

The premise of this thesis is that the ???concrete holographic image???, a laser transmission hologram which has an object or a hologram of an object as its subject, has unique spatial and temporal properties which can suggest a plurality of tenses to a viewer. There is a lack of comprehensive analysis of the holographic representational system within art related theoretical and critical writing and a tendency to analyse individual works only in terms of generalities which apply to the concepts surrounding the holographic medium. While these form an important background for art image production, in some cases corresponding to artists works, the existing written material on the subject is inadequate as a model from which to draw the all important temporal conclusions. To date the critical reception of holograms has made no mention of acuity, the size of the viewing frustum, the depth of the image and scant mention of interference phenomena which are the intrinsic factors which I believe precipitate temporal illusions. Therefore this thesis examines the concrete holographic image in great detail on its own terms, firstly through theories of the basic image forming phenomena of interference and diffraction and secondly through the techniques of production as they have been adapted for the making of my art works. The extent of the metaphorical and allegorical potential of the spatial and temporal properties of the concrete holographic image are put to the ultimate test in a commission for St Brigid???s Church, Coogee. The Shrine of the Sacred Heart commission for St Brigid???s requires a concrete holographic image to facilitate devotion to the Sacred Heart. The Sacred Heart is not a physical thing but a complex, evolving spiritual entity with a realist pictorial history.

O trabalho analisa o uso da arte no pentecostalismo brasileiro, abordando especificamente as artes visuais e a arquitetura, considerando esse uso nos espaços de culto e no ensino religioso. Parte-se da ideia de que a relação da fé pentecostal com as artes é marcada predominantemente pela rejeição, revelando uma preferência pelo iconoclasmo, pelo que se busca entender os motivos de tal rejeição e qual o espaço e o papel que essa mesma arte encontra no seio da religiosidade pentecostal. Ao mesmo tempo, acredita-se que o uso de iconografia no ensino religioso é uma exceção à postura iconoclástica. A primeira parte do trabalho estuda o desenvolvimento da arte iconográfica cristã e os principais movimentos de iconoclastia no Império Bizantino e a partir da Reforma protestante. A segunda parte traça um histórico do pentecostalismo brasileiro, desde suas origens em terras estrangeiras, relatando o surgimento e implantação das principais denominações pentecostais do País, cujos perfis são traçados, bem como arrolando uma série de características compartilhadas pela maioria dos grupos do segmento em questão. A terceira parte ocupa-se com o objetivo principal do trabalho, discutindo a relação do pentecostalismo com as artes, focando-se, primeiramente, nos espaços de culto. Para tanto, explica a evolução histórica dos templos cristãos, levando em conta aspectos artísticos e teológicos, e apresenta observações de mesma natureza sobre os templos pentecostais. São apresentados alguns motivos, teológicos, socioeconômicos e históricos que, hipoteticamente, contribuem para que o pentecostalismo adote uma postura iconoclástica, que, em sua versão menos radical, exclui de seus espaços de culto certas manifestações artísticas, como a escultura, ou com determinadas temáticas, como a reprodução da imagem humana. Discorre-se sobre o uso de arte figurativa na literatura voltada à educação religiosa, onde não se veem as mesmas limitações detectadas no caso dos templos. A postura do pentecostalismo brasileiro sugere rompimento com a tradição artística religiosa ocidental, a inexistência de uma arte sacra que lhe seja característica e um iconoclasmo resumido às casas de culto, uma vez que a educação religiosa abre-se para aplicações didáticas da arte iconográfica. / The work analyzes the use of art in Brazilian Pentecostalism, dealing specifically with the visual arts and architecture, considering this use in worship spaces and in religious education. One begins with the idea that the relation of the Pentecostal faith with the arts is predominantly marked by rejection, revealing a preference for iconoclasm, therefore one seeks to understand the motives for such a rejection and what space and role this same art encounters in the bosom of Pentecostal religiosity. At the same time it is believed that the use of iconography in religious education is an exception to the iconoclastic posture. The first part of the work studied the development of Christian iconographic art and the main movements of iconoclasty in the Byzantine Empire and from the Protestant Reformation. The second part outlines a history of Brazilian Pentecostalism, from its origins in foreign lands, telling of the emergence and implantation of the main Pentecostal denominations of the country, outlining their profiles, as well as listing a serious of characteristics shared by the majority of the groups of the segment in question. The third part occupies itself with the main goal of the work, discussing the relation of Pentecostalism with the arts, focusing, at first, on the worship spaces. For this it explains the historic evolution of the Christian temples, taking into account artistic and theological aspects, and presents observations of the same nature about Pentecostal temples. Some theological, socio-economic and historical motives are presented which hypothetically contributed to Pentecostalism adopting an iconoclastic posture, which, in its less radical version, excludes in its worship spaces certain artistic manifestations, such as sculptures, or those with certain themes, such as the reproduction of the human image. There is a discussion of the use of figurative art in the literature directed to religious education, where one does not see the same limitations detected in the case of the temples. The posture of Brazilian Pentecostalism suggests a break with the western religious artistic tradition, the inexistence of a sacred art that is characteristic of it and an iconoclasm restricted to the worship houses, since religious education opens itself to didactic applications of iconographic art.