This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.

The thesis examines c. 280 forms and motifs derived from a reconstruction of 93 gold stater types struck within 7 geographical regions across southeastern England, c. 80 BC - AD 45. The thesis highlights the emerging presence of an iconographic repertoire across southern Britain during the late pre-Roman Iron Age. Gold staters remain an important aspect of this phenomenon which is demonstrated to have manifested itself in other media, particularly metalwork. That this new art form supplemented, but did not supplant, existing types of non-representational La Tene style art is suggested by the presence of other types of object that continue to be decorated in this fashion throughout the first century AD. In the absence of any other type of established or coherent methodology Erwin Panofsky's (1993, 1972) method of iconographic analysis is adopted in order to provide a framework for the analysis. Whilst retention of Panofsky's three 'Acts of Interpretation' can be justified, a post-structuralist critique of Panofsky's method exposes fundamental theoretical shortcomings with regards the interpretation of meaning. In contrast to preceding interpretations of iconographical data, inferences are made upon the basis of lan Hodder's (1995, 1986) 'context of use' of other types of comparable forms and motifs within the archaeological record. The iconological content of staters is interpreted in terms of a transition, c. 20 BC - AD 10, from the expression of corporate or public ideals in a 'tribal periphery' to the manifestation of personal or private concerns in the southeastern 'core'. This divergence coincides with the emphasis placed upon the relative 'monetary' or 'political' roles performed by coinage within these regions. From the context of the forms or motifs illustrated on staters it is concluded that such images were appropriated by members of a minority social elite to legitimise and maintain their position at the apex of a social hierarchy.

Made available in DSpace on 2016-08-10T10:34:46Z (GMT). No. of bitstreams: 1 ANTONIO CARLOS DE OLIVEIRA.pdf: 40525946 bytes, checksum: 7856d9a7d96da8b55828b12ef6baa8d7 (MD5) Previous issue date: 2012-12-13 / Among the topics involving art, the question of artistic production, valued and secreted in Catholic churches has been studied by various art professionals and related fields. Among the many issues discussed was realized that art appreciation is caused by its location, ie, the more perceived by the public, greater the understanding of the message that the artist sought to convey. Being the art market the controller of the value of an artistic work, very often the access to art works becomes restricted to a few observers. This way, for most of the people, the appreciation of an artwork with authentic quality becomes inaccessible. From this issue, this study analyzed the creative process of religious artworks performed on the panels visible on the walls of the temple belonging to the Catholic Parish St. John the Evangelist, located at the University Square, in Goiania-GO, available to the public appreciation . In that temple is exposed the artwork produced by painter George Wilson, a painter who gathers the recognition of this community. Thereafter, it was emphasized the analysis of the main panels, such as the figure of Jesus Christ at the moment of the "Transfiguration" and the image of the Apostle "Saint John the Evangelist". For the accomplishment of this analysis, it was used the researches in books that deal with this subject, written by renowned researchers, the testimony of the painter, photographs and field visits. Based on the data and information collected, it was possible to reveal the iconography and iconology existing behind those panels. This study revealed the main aspects of the artistic work of religious art produced by artist, this work, which has specific goal, ie the religious orientation directed to all visitors of that space. / Entre os temas que envolvem a arte, a questão da produção artística, valorizada e segregada nos templos católicos tem sido objeto de estudo de vários profissionais da arte e áreas afins. Entre as varias questões analisadas percebeu-se que a valorização da arte é ocasionada pela sua localização, isto é, quanto mais percebida pelo público, maior o entendimento da mensagem que o artista procurou transmitir. Sendo o mercado da arte o controlador do valor de uma obra artística, muitas vezes o acesso à arte torna-se restrito a poucos observadores. Ficando assim, para a maioria do público inacessível a apreciação de um trabalho artístico autêntico e de qualidade. A partir dessa problemática, o presente trabalho analisou o processo criativo das obras religiosas realizadas nos painéis visíveis nas paredes do templo católico pertencente à Paróquia São João Evangelista, situado na Praça Universitária, na cidade de Goiânia, Go, visível para apreciação do público em geral, neste templo está exposto o trabalho artístico produzido pelo pintor goiano Wilson Jorge. Assim sendo, enfatizou-se a análise dos principais painéis, tais como: a figura de Jesus Cristo no momento da Transfiguração e a imagem do apóstolo São João Evangelista . Para a realização desta análise, recorreu-se a pesquisa em livros que abordam essa temática, escritos por pesquisadores renomados, depoimento do pintor, fotografias e visita a campo. A partir dos dados e informações levantadas, foi possível revelar a iconografia e a iconologia existentes nos referidos painéis. Esse estudo revelou os principais aspectos artísticos da obra de arte religiosa produzida pelo artista, trabalho este, que possui objetivo específico, isto é, a orientação religiosa direcionada para todos os frequentadores desse espaço.

O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens. / Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object \"Japanese Buddhist sculpture\" from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories.

O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens. / Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object \"Japanese Buddhist sculpture\" from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories.

Textbooks are one of the most common educational materials used at Swedish upper secondary schools. Diversity and inclusion have become increasingly important topics in Swedish society, and it is important to ensure that they are reflected in learning materials such as textbooks. The purpose of this research project was therefore to, through an intersectional theoretical approach, achieve increased knowledge about which constructions of social identities and roles as professional workers that are conveyed through teaching materials in three social studies textbooks. This study was governed by two research questions which are as follows: What constructions of social identities are conveyed through the books' images and text? and What constructions of professionals are conveyed through the books' images and text? These questions in the study were explored through a theoretical framework that presents representation in three perspectives, namely the age, gender, and ethnicity. Qualitative analysis method was applied to analyze both visual and textual content in this study. With regards to the visual aspect of the study, an iconographic analysis tool, which looks at the icons or symbols in images to determine the images original meaning or intent was used. The written text was analyzed with the help of Ammerts Typology which examined the establishing, explaining, reflecting/analyzing and normative presentation types of the surrounding text. The study shows that the textbooks' images and text partly lack aspects of inclusion and diversity. This result indicates that a possible revision existing textbook is needed, which may entail creating new materials that are more inclusive. It takes continuous effort and commitment to ensure that all social identities and occupations are represented in educational materials.

The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.

Cette étude cherche à appréhender la place qu’avaient occupée les Conflits et les Amours mythiques dans la mosaïque de l’Afrique Proconsulaire au Bas-Empire (fin du IIIème - début du Vème siècle). Aussi, savoir la nature des sujets, les modalités d’assimilation figurative, l’évolution des concepts, ainsi que les rapports qu’auraient eus les mosaïstes ou les commanditaires avec une culture considérée comme étrangère. Pour chaque mosaïque sont mis en évidence les apports respectifs de l’iconographie et de la littérature. Les composantes structurelles et conjoncturelles de chaque image, à savoir le cadre de l’action, les personnages, les modèles et les formules iconographiques, ainsi que les modalités de mise en scène, sont examinés de plus prés. s’interrogeant sur l’insistance des empreints, l’interchangeabilité entre thèmes, nous remettons en question des idées devenues avec le temps comme des dogmes, telle la totale dépendance de la mosaïque de l’Afrique Proconsulaire aux tendances artistiques de l’époque et son incapacité à se détacher de l’hégémonie des arts dits majeurs, et nous montrons que les mosaïstes africains ne sont pas de simples imitateurs, mais de véritables novateurs. D’autres approches sont nécessaires pour mettre nos mosaïques dans leurs contextes architecturaux et décoratifs d’origines. Ceci permettant d’aborder les problématiques liées aux relations sémantiques, vise à connaître les modalités d’insertions utilisées dans le reste de l’Empire, mais aussi de s’interroger sur la validité de certaines idées, comme l’existence d’une codification régissant les scènes représentées et les contextes architecturaux.Enfin le replacement de la mosaïque, et à l’intérieur d’une production artistique englobant toutes les autres disciplines, et la prise en considération de toutes les particularités, géographiques, historiques, sociales et culturelles de l’Afrique romaine au Bas-Empire, montre qu’il est difficile, voire impossible, de mesurer le rapport exact entre fonction administrative, statut financier et niveau culturel des commanditaires. Au lieu de continuer de parler de l’existence d’une même et une seul culture élitiste à laquelle adhère tous les aristocrates de l’Empire, il serait nécessaire de surpasser certains a priori et parler de diversités et de différences que de ressemblances. / The object of this thesis is the review of the conflicts and mythological love endeavors depicted in the Africa Proconsularis mosaics in the Late Antiquity period. In the meantime, one of the main aims is the study of the subject of the mosaics, the manners of the figurative assimilation, the evolution of the concept, and also the relation between the mosaic makers and a culture considered as a foreign one.For each mosaic are highlighted the respective contributions of the iconography and literature. The structural and conjectural components of each image, meaning the setting of the actions, the characters, the models and the iconographic formulas, and the methods of the production are examined more narrowly; questioning the insistence of imprints, interchange- ability between subjects. We are putting into question theories which has become over time as a dogma, such as the total dependence of the mosaic of Africa Proconsularis to the artistic trends of the time and the inability to separate from the hegemony of the arts alias the major; and we will try to demonstrate that the African mosaic makers were not mere imitators, but truly innovators.Moreover, other approaches are needed to put the mosaics within their architectural and decorative context. These approaches will allow addressing issues related to semantic relations, aiming to find out the modality of the insertion in the rest of the Empire, but also to investigate the validity of certain theories, such as the existence of a codification as a regulator linking the scenes presented and the architectural contexts.Finally, the replacement of the mosaic, in the artistic production encompassing all the other disciplines, taking into consideration all the geographical, historical, social particularities, and the cultural aspects of Roman Africa during the Late Antiquity, which give evidence that it is difficult or impossible to measure the exact relationship between administrative function, financial status and cultural level of the elite sponsors. Instead of, continuing to discuss about the existence of only an elitist culture that adheres to all the aristocracy of the Empire, it would need to exceed some a priori and talk about diversity and differences rather than only similarities.