Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1998. / Abstract and vita. Includes bibliographical references (leaves 225-239).

Thesis (Ph. D.)--Dept. of Art, Stanford University. / Bibliography: leaves 291-311.

Thesis (M.A.)--Brigham Young University. Dept. of Art, 1988. / Bibliography: leaves 99-103.

Thesis (Ph.D.) - University of Queensland, 2005. / Includes bibliography.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Illustrations not reproduced. Includes bibliographical references (leaves 403-430).

No description available.

No description available.

Textiles may be used as a vehicle to penetrate and exemplify a society's customs and traditions. This dissertation concentrates on the Kuba cloths from Zaire and particularly focuses on the social and political implications associated with these textiles. Part One explores the economic aspects of the cloths and the values of work, wealth, status and titleholding among the Kuba. The Kuba's aesthetic preference for pattern and design will be contemplated in relation to the cloths and as an illustration of this culture's concern with decoration and display. Part Two of this study examines the occasions for which these cloths are adorned. It will be observed that these celebrations and rituals, in conjunction with their ceremonial modes of dress, not only underline the importance of the nation and its ideologies and customs (as examined in Part One) but serve to acknowledge ethnic identity, as well as maintain and perpetuate the social and political order of the Kuba. / Art History, Visual Arts and Musicology / M.A. (History of Art)

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Aesthetics has a theological calling: The beauty (or ugliness) in the world and art incites us to long for the divine eternal beauty. The earthly beauty is revelatory and analogous to the beauty of God. Imagination, i.e. making an image, whether mental or physical, is an inherent faculty of human beings who were created in the image of God. It is an insuppressible human activity. Besides, the search for meaning, which is a universal human quest for the purpose in life, is a concern common in both religion and art. Aesthetics (art and beauty) thereby should be a theological locus, a graceful partner of theological dialogue. But how much are aesthetic dimensions incorporated in the Korean Presbyterian theological/liturgical context? Visual art, imagery and symbolism are considered marginal or even dangerous in the Korean Presbyterian churches while preaching is given a dominant position in their worship services. As a result, they are losing sight of the essential implications that aesthetic, embodied experiences of art, imagery and symbolism have for liturgical richness. Art, imagery and symbolism are fundamental components in Christian life and worship as demonstrated with numerous evidences throughout the Christian history. They are never discordant with the tradition of the Word, but rather, have critical importance to theology for five reasons – the human as embodied being, a manifestation of imago Dei, the integrative characteristic of our thinking and perceiving, the Bible as book of images, and the contemporary culture of images. Against this backdrop, aesthetic expressions of art, imagery and symbolism are claimed to have five features significant to Christian worship: The revelatory power of the beauty in nature or works of art displays something of God; aesthetic expressions of art, imagery and symbolism speak to the human totality as an intelligent-affective-sensate-corporeal being; people necessarily become participants in the performative nature of art and its claim of truth; the beauty, truth and goodness manifested in works of art may be a reminder of our responsibility to work for the transformation of the world; an artwork can serve an eloquent mode of hoping for the present absent reality of the Kingdom of God. In terms of these qualities, an implication that aesthetic experiences in worship have the power to reframe, taking us to the encounter with the divine beauty, goodness and truth, is drawn, and a fusion of the verbal and non-verbal is claimed conclusively. / AFRIKAANSE OPSOMMING: Estetika het 'n teologiese roeping: Die skoonheid (of lelikheid) in die wêreld en kuns moedig ons aan om na die goddelike ewige skoonheid te verlang. Die aardse skoonheid is openbarend en ooreenkomstig tot die skoonheid van God. Verbeelding, dit wil sê die maak van 'n beeld, óf dit geestelik of fisies is, is 'n inherente fakulteit van die mens wat in die beeld van God geskape is. Dit is 'n menslike aktiwiteit wat nie onderdruk kan word nie. Buitendien, die soeke na betekenis, wat 'n universele menslike soektog na die doel van die lewe is, is 'n belangstelling wat algemeen in godsdiens en kuns voorkom. Estetika (kuns en skoonheid) moet daarmee 'n teologiese lokus wees, 'n bekoorlike vennoot in die teologiese dialoog. Hoeveel van estetiese dimensies word egter in die Koreaanse Presbiteriaanse teologiese / liturgiese konteks opgeneem? Visuele kuns, beelde en simboliek word as marginaal of selfs gevaarlik in die Koreaanse Presbiteriaanse kerke beskou, terwyl prediking 'n dominante posisie in hul eredienste beklee. Die gevolg is dat die belangrikste implikasies wat die estetiese, beliggaamde ervarings wat kuns, beelde en simboliek vir liturgiese rykdom inhou, uit die oog verloor word. Kuns, beelde en simboliek is fundamentele komponente van die Christelike lewe en aanbidding soos verskeie getuienis in die Christelike geskiedenis demonstreer. Hulle is nooit teenstrydig met die tradisie van die Woord nie, maar dit is eerder van kardinale belang vir die teologie vir vyf redes – die mens as beliggaamde wese; 'n manifestasie van die Imago Dei; die geïntegreerde kenmerk van ons denke en waarneming; die Bybel as boek van beelde, en die huidige kontemporêre kultuur van beelde. Die estetiese uitdrukking van kuns, beelde en simboliek besit op hierdie gronde vyf eienskappe van belang vir die Christelike aanbidding naamlik: Die openbarende krag van skoonheid in die natuur of kunswerke wat iets van God vertoon; die estetiese uitdrukking van kuns, beelde en simboliek praat tot die menslike totaliteit as 'n intelligente-affektiewe-sintuiglik-waarnemende-liggaamlike wese; mense word noodsaaklike deelnemers in die performatiewe aard van kuns en sy eis van die waarheid; die skoonheid, waarheid en goedheid wat in kunswerke te sien is, kan vir ons tot 'n herinnering wees van ons verantwoordelikheid om vir die transformasie van die wêreld te werk; 'n kunswerk kan as 'n welsprekende beeld van hoop vir die hede dien in die afwesige werklikheid van die Koninkryk van God. Die implikasie van die mag om verandering te weeg te bring wat estetiese ervarings in aanbidding mag hê, word volgens hierdie eienskappe veronderstel. Dit neem ons na ʼn ontmoeting met die goddelike skoonheid, goedheid en waarheid en die samesmelting van die verbale en nieverbale word gevolglik opgeëis.

Thesis (MPhil)--Stellenbosch University, 2103. / ENGLISH ABSTRACT: Ancient Egyptian art and artefacts reveal a great deal about the culture and beliefs of this civilization. It was a civilization steeped in myth, symbolism and imagery. Tomb art has been extensively analysed and studied in an effort to reveal the essential way of life of the Ancient Egyptians, their religious beliefs and their philosophy of life. It is agreed that symbolism was an inherent part of their lives and beliefs. They looked to nature and observed the behaviour of animals, plants, the environment and also the weather to attempt to rationalize the world they lived in. Their close observation of behaviour patterns in nature resulted in a complex hierarchy of gods and goddesses who were accountable for successful living. Among the animal kingdom, certain animals gained such distinction that they were linked to certain deities. The scarab beetle is one such creature. Insects featured variously in their art, their myths and their belief in magic. While the scarab beetle is possibly the most documented of the insects, other insects such as the bee, the fly, the locust and the praying mantis have all been investigated. The butterfly features frequently in Ancient Egyptian art and yet has not been the subject of in-depth study. This investigation attempts to examine the symbolism and significance of the butterfly in Ancient Egypt. Richard Wilkinson (1994) has provided a framework for analysing symbolism in Egyptian art. He suggests nine aspects which can be examined in order to reveal symbolism. In this study, a selection of art from various dynasties is systematically examined according to these nine aspects. Each art work portrays the butterfly. Through this careful examination it is hoped that a clearer indication of the role of the butterfly in Ancient Egypt will be obtained. Having discussed all nine aspects for each of the sources, a discussion and various conclusions follow which look at the trends which appear. Certain patterns emerge which indicate that the butterfly does indeed play a significant role as a symbol in Ancient Egypt. / AFRIKAANSE OPSOMMING: Antieke Egiptiese kuns en artefakte openbaar baie oor die kultuur en oortuigings van hierdie beskawing. Dit was 'n beskawing ryk aan mites, simboliek en beelde. Grafkuns is deeglik ontleed en bestudeer in 'n poging om die wesenlike lewenswyse van die antieke Egiptenare, hul godsdienstige oortuigings en lewensfilosofie te openbaar. Daar word saamgestem dat simboliek 'n inherente deel van hul lewens en oortuigings uitgemaak het. Hulle het op die natuur gesteun en die gedrag van diere, plante, die omgewing en ook die weer waargeneem om te probeer om hul lewenswêreld te verklaar. Hul noukeurige waarneming van natuurverskynsels het tot 'n komplekse hiërargie van gode en godinne gelei wat vir 'n suksesvolle lewe verantwoordelik was. Sekere diere in die diereryk was so besonders dat hulle met sekere gode en godinne verbind was. Die skarabee kewer is een so 'n skepsel. Insekte verskyn onder andere in hul kuns, hul mites en hul geloof in magie. Terwyl die skarabee moontlik die mees gedokumenteerde insek was, is ander insekte soos bye, vlieë, sprinkane, en die bidsprinkaan ook almal ondersoek. Die skoenlapper verskyn gereeld in die antieke Egiptiese kuns, maar was nog nie die onderwerp van 'n grondige studie nie. Hierdie studie poog om die simboliek en belangrikheid van die skoenlapper in antieke Egipte te ontleed. Richard Wilkinson (1994) verskaf 'n raamwerk vir die ontleding van simboliek in Egiptiese kuns. Hy het nege aspekte voorgestel wat bestudeer kan word om die simboliek te openbaar. In hierdie studie, word 'n seleksie kuns van verskillende dinastieë, sistematies aan die hand van dié nege aspekte ontleed. Elke kunswerk beeld die skoenlapper uit. Deur hierdie noukeurige ondersoek, word daar gehoop dat die rol van die skoenlapper in antieke Egipte duideliker voorskyn. Na die bespreking van al nege aspekte vir elk van die bronne, volg daar 'n bespreking met verskillende gevolgtrekkings wat kyk na die tendense wat voorkom. Sekere patrone kom te voorsyn wat daarop dui dat die skoenlapper wel 'n belangrike rol as 'n simbool in antieke Egipte gespeel het.