Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação pretende ser uma pequena contribuição para o campo, ainda pouco explorado, dos estudos das artes sacras afro-descendentes brasileiras. Aqui, intento me aprofundar no mundo delicado e complexo no qual se inserem as esculturas religiosas dos Exus e das Pombajiras da Umbanda. Todo o percurso desenvolvido pelas imagens que figuram esses entes está envolto em uma contraparte imaterial, ligada de maneira indissociável à mítica religiosa e ao afeto. Gerada usualmente em conluio com o onírico e o invisível, as imagens de Exus e Pombajiras ganham formas graças a um processo criativo coletivo e, presentes no mundo material, passam a cumprir função sagrada primordial nos espaços do terreiro e do lar. A demonização, dado visual tão identificável nas representações escultóricas desses entes, esconde um conteúdo simbólico que vai além da associação simplista entre Exu e o diabo. Esses personagens do culto de Umbanda e suas figurações imagéticas se ligam a uma série de fatores culturais e legados mítico-religiosos, contemporâneos e arcaicos, que, submersos em sua simbologia religiosa, podem ser entrevistos pelos ícones de suas representações / This work intends to be a contribution for Brazilian afro descendent sacred arts studies, an area which is not much explored yet. I intend to deepen in the subtle and complex world in which the Umbanda Exus and Pombajiras religious sculptures are inserted. All the route covered by those images that represent those entities is surrounded by a immaterial halfpart linked to its religious mythical environment and affection in an undividable way. Usually generated by a conjunction between the oniric and the invisible, Exus and Pombajiras images gain their morphology due to a creative collective process and, when realized in material world, they play their primordial sacred function at homes and terreiros (Umbanda religious temples). Devilishment process, a visual fact that is identified in sculpture representations of those entities, hides symbolic content which goes beyond the ordinary association between Exu and devil. These Umbanda cult characters and its imagetical representations are connected to several cultural factors and contemporaneous, archaic and mythical religious legacy, which can be perceived on the icons that represent them, when submerged in its religious symbolism

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação pretende ser uma pequena contribuição para o campo, ainda pouco explorado, dos estudos das artes sacras afro-descendentes brasileiras. Aqui, intento me aprofundar no mundo delicado e complexo no qual se inserem as esculturas religiosas dos Exus e das Pombajiras da Umbanda. Todo o percurso desenvolvido pelas imagens que figuram esses entes está envolto em uma contraparte imaterial, ligada de maneira indissociável à mítica religiosa e ao afeto. Gerada usualmente em conluio com o onírico e o invisível, as imagens de Exus e Pombajiras ganham formas graças a um processo criativo coletivo e, presentes no mundo material, passam a cumprir função sagrada primordial nos espaços do terreiro e do lar. A demonização, dado visual tão identificável nas representações escultóricas desses entes, esconde um conteúdo simbólico que vai além da associação simplista entre Exu e o diabo. Esses personagens do culto de Umbanda e suas figurações imagéticas se ligam a uma série de fatores culturais e legados mítico-religiosos, contemporâneos e arcaicos, que, submersos em sua simbologia religiosa, podem ser entrevistos pelos ícones de suas representações / This work intends to be a contribution for Brazilian afro descendent sacred arts studies, an area which is not much explored yet. I intend to deepen in the subtle and complex world in which the Umbanda Exus and Pombajiras religious sculptures are inserted. All the route covered by those images that represent those entities is surrounded by a immaterial halfpart linked to its religious mythical environment and affection in an undividable way. Usually generated by a conjunction between the oniric and the invisible, Exus and Pombajiras images gain their morphology due to a creative collective process and, when realized in material world, they play their primordial sacred function at homes and terreiros (Umbanda religious temples). Devilishment process, a visual fact that is identified in sculpture representations of those entities, hides symbolic content which goes beyond the ordinary association between Exu and devil. These Umbanda cult characters and its imagetical representations are connected to several cultural factors and contemporaneous, archaic and mythical religious legacy, which can be perceived on the icons that represent them, when submerged in its religious symbolism

Submitted by Vinicius de Assis null (deassis.vinicius@gmail.com) on 2016-07-29T14:46:59Z No. of bitstreams: 2 THANGKA A PINTURA SAGRADA TIBETANA.docx: 18848509 bytes, checksum: 0f3bea4566b0c4667ffea6f21ff1af6f (MD5) THANGKA A PINTURA SAGRADA TIBETANA.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-08-01T14:18:49Z (GMT) No. of bitstreams: 1 assis_v_me_ia.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5) / Made available in DSpace on 2016-08-01T14:18:49Z (GMT). No. of bitstreams: 1 assis_v_me_ia.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5) Previous issue date: 2016-06-17 / O presente estudo intenta apresentar os princípios básicos, históricos e processuais, da pintura tradicional tibetana, thangka. Tal objetivo se justifica pela escassez de estudos em língua portuguesa sobre o assunto. Ainda que seja perceptível nos tempos atuais uma expansão dos estudos asiáticos no Brasil, em confluência com uma crescente aproximação e interesse pela cultura oriental na contemporaneidade; esta pesquisa, por meio de estudo de campo, levantamento bibliográfico e histórico, busca a investigação e exposição do profundo e específico âmbito do simbólico, sagrado e tradicional na pintura tibetana. Acreditando que o reconhecimento das artes e teorias estéticas não eurocêntricas corroboram a cognição e produção da inestimável diversidade cultural humana. / The following study intends to present the basic, historical and procedural principles of the traditional Tibetan painting, thangka. This objective is justified by the lack of studies in Portuguese on the subject. Although it is noticeable nowadays an expansion of Asian studies in Brazil, in confluence with a growing approach and interest in Eastern culture in contemporary society; this dissertation, by field research, literature and history, wishes to investigate, explain and expose the deep and specific scope of the symbolic, sacred and traditional in Tibetan painting. Believing that the recognition of the arts and non eurocentric aesthetic theories corroborate the cognition and production of the invaluable human cultural diversity.

In this essay the renewal of the modern sacred art has been examined through the creation of three works of art from the art project “Kyrkorummet”. The aim has been to show that renewal of the modern sacred art is best accomplished by the combination of the artist history and Bible knowledge and the open mindness of the beholder towards the new and creative, in order to communicate the gospel in modern time. The large extend of the art project demanded a selection of the art works. Therefore, three were chosen and they show the last supper and the baptism in a renewal way including both symbolism and creativity. To complete and facilitate the analyses, a theme, light and water, have been used as well as relevant theories in art history with Kandinsky as main art critic. Through the art project and it’s teaching, history in combination with present time through visits in different and modern churches, thoughts have been stimulated and the result has been new works of art that speaks of our time. The project has also shown that symbolism is an important aspect in the renewal of sacred art, since it communicates and reveals important truths.

Islamic design is a rich art form with spiritual and meditative meaning expressed through its infinite pattern. The iterative process of creating pattern, unified yet diverse, is an intri-cate geometric path conveying conceptual exploration. Process of form development in Is-lamic patterns defines its growing design, seeking explicit relationships between unity and multiplicity. As the grid expands and patterns unfold, new concepts are introduced for pat-tern exploration and formation. Reoccurring focal points of the Islamic geometries mark significant moments in which these patterns take form. By fusing traditional Islamic design fundamentals with contemporary concepts for interiors, I expand the realm of this rich art form from a two dimensional form to a three dimensional structure.

Islamic design is a rich art form with spiritual and meditative meaning expressed through its infinite pattern. The iterative process of creating pattern, unified yet diverse, is an intri-cate geometric path conveying conceptual exploration. Process of form development in Is-lamic patterns defines its growing design, seeking explicit relationships between unity and multiplicity. As the grid expands and patterns unfold, new concepts are introduced for pat-tern exploration and formation. Reoccurring focal points of the Islamic geometries mark significant moments in which these patterns take form. By fusing traditional Islamic design fundamentals with contemporary concepts for interiors, I expand the realm of this rich art form from a two dimensional form to a three dimensional structure.

Orientador: Jens Michael Baumgarten / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T13:03:35Z (GMT). No. of bitstreams: 1 Freitas_MariaMartavanLangendonckTeixeirade_M.pdf: 5958095 bytes, checksum: 16e89c0e333446608616f3bfda4a5750 (MD5) Previous issue date: 2013 / Resumo: O presente trabalho tem por objetivo analisar a pintura religiosa de Fulvio Pennacchi realizada entre os anos 1930 e 1945. Primeiramente, estudamos as pinturas religiosas propriamente ditas, realizando uma análise temática e formal. Diante desta análise, examinamos a inserção destas pinturas religiosas no contexto histórico, social e artístico da cidade de São Paulo à época de sua produção. O trabalho preocupa-se em aprofundar três questões principais: os temas religiosos abordados por Pennacchi; a influência do Trecento e do Quattrocento nas pinturas religiosas de Pennacchi; a presença das pinturas religiosas de Pennacchi nos anos 1930-1945 e no ambiente artístico paulistano desta época / Abstract: The purpose of the present work is to analyze the religious painting of Fulvio Pennacchi produced between the years 1930 and 1945. First, we analyze the religious paintings themselves, regarding their theme and form. Given this analysis, we examine the presence of these religious paintings in the historical, social and artistic context of the city of São Paulo at the time of their production. The work is concerned with three main issues: the religious themes addressed by Pennacchi; the influence of the Trecento and Quattrocento in Pennacchi's religious paintings; the presence of Pennacchi's religious paintings in the years 1930-1945 and in São Paulo's artistic context of these years / Mestrado / Artes Visuais / Mestra em Artes Visuais

In the thesis "Karel Stádník and Sacred Art" we start by a general rendering of the role, changes and development of sacred art not only in Bohemia. This introduction creates an overall context for the following description of the personality and work of the academic sculptor, restorer and permanent deacon Karel Stádník. As the author remains largely unnoticed in art history research and publications, in the thesis we provide new facts revealed during interviews with the artist's family. Thus - inter alia - we were able to extend the chapter dedicated to the artist's life and to elaborate the list of sacred works of the author. Close attention is paid to the general development and characteristic features of the author's work focusing mainly on the most important projects implemented in churches, including examples of conservation work. The next parts of the text are dedicated to selected artists with a major impact on Czech sacred art. These include architect Jan Sokol, painter Mikuláš Medek and all-round artist Ludvík Kolek. For each artist, details are provided regarding their life, personality and artistic development - again focusing mainly on the most important works for churches. The individual chapters result in comparing their sacred art with work of Karel Stádník, searching for...

Co-Mission is a framework designed to promote synodality and collaboration between pastors and artists in commissioning sacred liturgical art, bridging the gap between the Church and the Arts. In response to changes in religious expression and the challenges posed by secularization, Co-Mission merges the leadership and creativity of pastors and artists through continuous, community-centered dialogue: the See-Judge-Act method provides a systematic pastoral approach, while Design Thinking introduces an innovative process that encompasses empathy, definition, ideation, prototyping, and testing. Co-Mission fosters spiritual growth, enhances worship experiences, and adjusts to the evolving needs of the faithful. This thesis includes a case study on the commissioning of La Asunción Indígena, assessment tools to guide the Co-Mission process and evaluate liturgical art, and Via Lucis Brevior for prayer and reflection. It contributes to Church-Arts partnerships by offering a practical framework, establishing it as a catalyst for transformational leadership and church renewal. / 2025-01-26T00:00:00Z

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