Le monument funéraire a longtemps été négligé par les historiens. Comme les obituaires et les testaments, il révèle autant la relation du défunt à la mort que la gestion de sa mémoire par ses héritiers. Cette étude montre d’abord la richesse du mobilier funéraire médiéval de la Bourgogne ducale. À la diversité typologique s’ajoute la richesse de l’iconographie avec l’importance du nombre de monuments à effigies. Ces tombes matérialisent une sépulture de prestige. A l’origine réservée aux grands prélats et aux princes, l’inhumation ad ecclesiam s’étend progressivement à l’aristocratie féodale puis aux bourgeois. La localisation et la matérialisation de la sépulture par un monument reflètent aussi l’évolution de la piété médiévale. Les données épigraphiques et l’iconographie indiquent la mutation d’une piété « gothique » vers une piété plus flamboyante. Mais la volonté de transmettre une mémoire est un souci au moins aussi important que celui du salut de l’âme. Malgré une typologie complexe et une évolution formelle constante, le monument funéraire médiéval conserve une ligne directrice fondée sur la memoria du défunt. Il trahit cependant des stratégies tant sociales que sotériologiques. D’une part, il reflète son auctoritas, et par-delà, celle de son groupe social. D’autre part, il participe activement à son accomplissement spirituel. / The tombstone has long been neglected by historians. As obituaries and wills, tombstones reveal as much the relationship of the deceased to death that the management of their memory by their heirs. This study first shows the wealth of medieval Burgundy graves goods. Typological diversity adds to the richness of iconography with large amounts of effigial monuments. Tombs materialize burial of prestige. Originally reserved for prelates and princes, burial ad ecclesiam progressively extended to the feudal aristocracy and the bourgeoisie. The location and the materialization of a burial monument also reflect the evolution of medieval piety. Epigraphy and iconography show the mutation of "gothic" piety to a more flamboyant piety. But the will to transmitt a memory is a worry at least as important as the salvation of the soul. Despite a complex typology and a constantly formal evolution, the medieval tomb retains a guideline based on the memoria of the deceased. However, it reveals social as well as soteriological strategies. On the one hand, it reflects his auctoritas, and beyond that of his social group. On the other hand, it actively participates in its spiritual fulfillment.

Coronae, stephanai e diademata sono gli attributi più evidenti nella ritrattistica femminile di età imperiale e si configurano non solo come gioielli, ma anche come veicolo di informazioni. Obiettivo del presente lavoro è dimostrare come tali manufatti siano significativi indizi del rango e della posizione delle donne della famiglia imperiale, poiché legati al titolo di Augusta e alla legittimazione del potere grazie al ruolo delle donne come madri. Attraverso lo studio di un campione di ritratti pertinenti alla statuaria, alla glittica e alla numismatica, si propone una tipologia degli attributi e si affronta la loro analisi in relazione ai singoli soggetti, alle diverse dinastie e ai contesti in cui sono utilizzati. La ricerca ha sviluppo diacronico e copre il periodo compreso fra Livia ed Elia Ariadne. / Coronae, stephanai and diademata are the clearest feautures in Roman female portraiture and they emerge not only as jewels, but also as a way to convey information. Aim of this work is to demonstrate how these artifacts are substantial clues to understand roles and positions of the female part of Roman Imperial families, since they are connected to the title of Augusta and to the dynastic legitimacy, thanks to female role as mothers of emperors. A catalogue of portraits from statuary, glyptic and numismatic leads to a tipology of these objects and to their analysis regarding single persons, dynasties and backgrounds. The study goes from Livia to Aelia Ariadne.

Objets très communs dans l’aire de culture tibétaine, les tsha tsha, fabriqués à l’aide de moules, sont des images en argile figurant des stūpa, des divinités bouddhiques, des personnages historiques, ainsi que des inscriptions. Leur fabrication est avant tout considérée comme une pratique religieuse visant à générer des mérites mais aussi à purifier les actions négatives. Réalisés en masse, ils constituent des témoignages fidèles et mésestimés des développements iconographiques et stylistiques qui ont marqués l’art bouddhique tibétain au fil des siècles. En l’absence d’études antérieures, un travail de recensement systématique des matériaux relatifs aux tsha tsha a fait apparaître une richesse documentaire insoupçonnée susceptible d’éclairer non seulement l’histoire de l’art tibétain, mais également certains aspects relevant de l’anthropologie religieuse, de la philologie, ou encore de la paléographie. Dans le cadre de notre thèse, nous avons privilégié une démarche globalisante prenant en considération l’ensemble des données disponibles en procédant conjointement à l’étude d’un très large corpus de pièces sélectionnées, à celle de la littérature afférente, et aux observations de terrain. Dans cette perspective, nous avons envisagé l’étude des tsha tsha sous divers angles: l’origine et l’histoire de la diffusion de cette pratique au Tibet, la terminologie relative à ces objets, les techniques de fabrication, les usages, l’iconographie, les styles et enfin les inscriptions présentes à leur surface ou introduites. Cette approche nous a permis de révéler finement l’ampleur et les développements que cette pratique bouddhique d’origine indienne a connu dans le monde tibétain. / Very commonplace in the Tibetan world, tsha tshas are clay impressions produced from a mould depicting, either in relief or moulded in the round, stūpas, Buddhist deities, historical figures and inscriptions. Making them is essentially considered to be a religious practice intended to generate and accumulate merit but also to purify negative deeds and obscurations. Produced in mass and generally preserved inside sealed edifices, tsha tshas are true yet underrated evidence of the iconographic and stylistic developments that have marked Tibetan Buddhist art over the centuries. In the absence of any previous studies, the task of establishing a systematic inventory of sources related to tsha tshas revealed an unsuspected wealth of material for elucidating not only the history of Tibetan art, but also some aspects of religious anthropology, philology, or paleography. In this doctoral research, we favored a globalizing approach that takes into account all the available data by studying a very large corpus of selected pieces, of the literature related to the tsha tshas, as well as field observations. In this context, we considered the study of tsha tshas from different angles: the origin and history of how this practice spread through Tibet, the terminology for these objects, the techniques for making them, their uses, iconography, styles and finally the inscriptions that are found on their surface or inside them. This approach has allowed us to explain more accurately the true extent of this Buddhist practice of Indian origin and the developments it has undergone in the Tibetan world since its introduction in about the 8th-9th centuries to the present day.

Este trabalho analisa pinturas murais religiosas sobre temáticas relacionadas à morte e ao além, encontradas em igrejas católicas da região central do Rio Grande do Sul. Pinturas realizadas ao longo do século XX e selecionadas com base em amostragem reunida em arquivos fotográficos representativos de 192 municípios. A partir de uma abordagem iconológica, busca entender: como os modelos iconográficos europeus foram retomados pelo muralismo religioso regional. Para tanto, identifica a origem dos principais temas escatológicos representados, bem como algumas das fontes visuais utilizadas, compostas, sobretudo, por gravuras que reproduzem temas religiosos de obras dos séculos XV ao início do século XX. Entre as formas evitadas pelo muralismo rio-grandense destacam-se: alusões à nudez, poses com pouco dinamismo, e gestos considerados constrangedores para os padrões morais da região. Nas formas incluídas, destacam-se as poses com expressão gestual mais acentuada, vestes moralizantes e detalhes zoomórficos na figuração de demônios. Enquanto que o conjunto das formas preservadas aponta para um predomínio dos gestos representativos de emoções intensas. Com base nos estudos de Aby Warburg sobre a influência da empatia no resgate de configurações emotivas, e a partir do resultado das análises formais, foi estruturada a proposição principal desta pesquisa. Proposição que procura evidenciar uma relação entre a eficiência empática dos antigos gestos de ações passionais e a conseqüente preservação desses no muralismo religioso escatológico regional. / This work analyzes paintings murais on themes related to the death and to the beyond found at Catholic churches of the central area of Rio Grande do Sul. These paintings accomplished along the century XX there were selected from the sampling gathered in representative photographic files of 192 municipal districts. Starting from an iconological approach it looks for to understand: How the European iconographic models were retaken by the regional religious mural painting . For so much, it identifies the origin of the main eschatological themes represented and some of the visual sources used, which were composed, above all, for engravings that reproduce religious themes from works of art originated between the century XV and the beginning of the century XX. Among the forms avoided by the mural paintings of Rio Grande do Sul stand out: allusions to the nakedness, pose with little dynamism, and gestures considered constraining for the moral patterns of the region. In the included forms, there are poses with gesture expression more accentuated, zoomorphic details in the demons' figuration, and moralized garments, while the group of preserved forms appears for a prevalence of the representative gestures of intense emotions. With base in Aby Warburg's studies ou the influence of the empathy in the rescue emotional configurations, and starting from the result of the formal analyses, the main proposition of this research was structured . Proposition that tries to evidence a relationship: that links the emphatic efficiency of the old gestures of passionate actions and the consequent preservation of those in the regional religious mural paintings.

The presented diploma thesis is dedicated to the Czechoslovak paper money is-sued after 1948 until 1989, which is used as a source of historical memory. On paper money is mainly investigated their thematic content, which passed for their development time significant changes and that reflected important needs of the communist regime. The basic source for research this theme is paper money of defined period with taking into account the pre-war paper money because of their comparison. In addition, consideration is given to archival sources, contemporary posters, films, literature, songs, etc. The main target of this work is to determine how paper money reacted to the change of the political system after 1948 and how it was reflected by the users them-selves. It will also be monitored the rise of Soviet influence, sphere of allegorical humor and reflection of artistic community.

Who says there is only one Orpheus, the mythical singer, poet, lover, musician, tragedian? The pivotal term of this study 'Orpheus' potential' refers to a set of characteristic datas or qualities, encrypted into the iconography of this theme by the time of c. 3 000 years and deciphered and interpreted by artists for nearly equivalent period. Although the Czech lands of the nineteenth century were both metaforically and literally distant from the Greek antiquity, we are able to trace a surprising volume of comments, receptions or appropriatons of Orpheus' iconography in various fields of arts: visual arts, dramatic arts, poetry, opera. The transformation of typology is discussed on illustrative examples using the genre of micro- stories, the second part of the study focuses on the localy determined shape of 'Slavic Orpheus', the person from the pre-Czech mythology, Lumír, who was gifted by analogic talents like his prototype.

This thesis deals with the period, which was not fully researched until now by the czech numismatists. It is a unique numismatic work fully dedicated to the tetrarchic period in czech language. Its center of gravity lies in the detailed study of the production of coins and iconography, both before the reform, in 294, and afterwards. It is also given a description of previous period of the end of the third century AD to facilitate the understanding of monetary developments and policies of the tetrarchic period. The study of the numismatic material and literature allow to deliver new opinions concerning the disintegration of tetrarchic system and of the monetary reforms from the end of the third century AD. It is discussed the problematic of using marks on coins, which are usually interpreted as an indication of nominal value. The work includes a detailed study of 1,752 gold coins of the second half of the 3rd century, which helps to clarify the vague classification of gold coins and their standards. Attached is a catalog of the Roman imperial coins from AD 284-337, which are deposited in the Charles University collection of ancient. These coins have not been published until now. Key words: Tetrarchy, Diocletian, Constantinus, nummus, monetary refroms, coinage, marks of value, XXI, Heraclea, golden...

Black and red figured pottery is a captivating, while also a vast and demanding subject of research. For decades, vases were primarily studied as valuable art objects and scenes depicted on them considered as testimonies of ideas and lives of their creators and users. Many researchers focussed on interpreting the scenes captured on these vessels. When studying works by our research predecessors, it can be noted that their methods and conclusions were often influenced by the socio-cultural context in which they lived and worked. The aim of this thesis is not to create new, surprising interpretations of selected scenes or to point at erroneous interpretations of other researchers. The aim of this work is to draw attention to how contemporary society has influenced researchers and the methods they use and conclusions they draw when interpreting scenes considered for long periods as immutable, final and undisputable. While re-evaluating adopted conclusions I drew on gender studies and gender analysis which require a multidisciplinary approach to research and interpretation of vase paintings. In four subject areas I pointed out to what extent the dichotomies within which we are used to think and with which we work, i.e. dichotomies of masculine - feminine, public - private, exterior - interior, but also...

L’étude s’interroge sur la notion de divinité dans l’Égypte et le Proche-Orient anciens, à l’aide des témoignages archéologiques et textuels qui la révèlent. Partant des premières représentations plausibles de puissances divines individualisées, vers la fin du IVe millénaire avant J.-C., l’enquête croise les données de la documentation iconographique et des sources écrites pour tenter d’identifier les spécificités des conceptions du divin dans chaque ensemble culturel, mais aussi leurs traits communs, au long des IIIe et IIe millénaires. Les religions du Proche-Orient et de l’Égypte se sont en effet, durant cette période, rejointes sur nombre de points, aussi bien dans la traduction formelle du divin que dans son expression conceptuelle. Aussi se pose la question de savoir si de telles similitudes sont le fruit de développements intrinsèques ou si des influences mutuelles en sont responsables. Les interactions dans le domaine de la religion, de plus en plus probables au cours du temps, sont avérées au IIe millénaire, au moins sur le plan de l’iconographie. Les contacts entre le Levant et la Vallée du Nil sont alors multiples, favorisant les imprégnations culturelles. Cependant, celles-ci ne se font pas au hasard : des priorités politiques ou enjeux idéologiques, que l’étude s’emploie à mettre en évidence, président aux emprunts réciproques. Certains décalages tiennent au statut même du corpus religieux au sein des sociétés, en particulier à celui de la littérature mythique. En dernière analyse, la démarche comparative touche aux fondements du polythéisme et aux mécanismes de « traduction », de « syncrétisme » et autres interprétations qu’il rend possibles. / This study aims at questioning the notion of divinity as conveyed by the ancient cultures of Egypt and the Near East, on the basis of archaeological and written evidence. Starting from the first plausible representations of divine powers pictured as individual beings, around the end of the 4th millennium B.C.E., the investigation confronts iconographical and textual data in order to identify, for both cultural areas under discussion, the peculiarities of their conceptions of the divine, as well as their common features, during the 3rd and 2nd millennia. At that time, indeed, the religion of the Near East and that of Egypt concurred in many respects, either in the formal depiction of the divine or in its conceptual expression. Hence the question arises whether such similarities were the outcome of intrinsic developments or resulted from mutual influences. Interactions in the realm of religion grow more and more likely in the course of time, and they can be ascertained for the 2nd millennium, at least as far as iconography is concerned. It is a period of intensive contact between the Levant and the Nile Valley, an incentive to cultural intermingling. However, those exchanges did not happen at random: the reciprocal borrowing depended on political priorities or ideological stakes, as the study seeks to highlight. Some discrepancies stem from the very status religious texts held within their own societies, especially mythical literature. Ultimately, the principles of polytheism and the processes of « translation », of « syncretism », and the other interpretations it allows, are the central issue of this comparative approach.

L’imagerie morale connaît un essor considérable dans la péninsule italienne entre 1315 et 1415. Les ordres mendiants, notamment les franciscains, les dominicains et les augustins, sont les principaux promoteurs du renouveau de ce thème. Intégralement tournés vers l’étude et la propagation de la morale, ces trois ordres entrent en concurrence les uns avec les autres sur la question des vertus. Chez les laïcs, les villes mettent en œuvre une imagerie cohérente dressant le portrait de communes vertueuses destinée à légitimer les gouvernements et à dénoncer les régimes tyranniques. À partir d’un corpus iconographique riche (plus de 700 images), l’étude des vertus et des vices se propose de dégager la fonction et la signification des personnifications dans l’art italien à la veille de l’époque moderne. L’analyse des images met à jour les notions qui travaillent les figurations des vertus : les procédés artistiques consistant à figurer des valeurs morales ; la dimension édifiante et mnémonique des personnifications ; les échos et les écarts entre les personnifications et les exemplifications ; le phénomène de vulgarisation de la morale par l’image. / The moral imagery knows an exceptional development in the Italian Peninsula between 1315 and 1415. The mendicant orders, in particular the Franciscans, the Dominicans and the Augustinians, are the main instigators of the revival of this theme. Completely turned towards the study and the propagation of morality, these three orders are in competition on the matter of virtues. Among the laymen, cities initiate a coherent imagery drawing the portrait of virtuous communes intended to legitimate the governments and to denounciate the tyrannical systems. From a large iconographic corpus (more than 700 pictures), the study of virtues and vices intends to find the function and the meaning of personifications in the Italian art on the eve of Modern history. The analysis of pictures brings to light the notions that underlie the representation of virtues: the artistic processes consisting in representing moral values; the edifying and mnemonic dimension of personifications; the echos and gaps between personifications and exemplifications; the popularization phenomenon of ethics by the picture.