in English: The aim of this thesis is to present the Korean Buddhist sculpture throughout the Korean history. The thesis presents Buddhist iconography at the beginning, focusing on the Korean art especially. Afterwards the main and most important Buddhist sculpture masterpieces are introduced. The sculptures represent certain period of Korean history. The work contains Korean Buddhist sculptures from the times of introducing Buddhism in Korea, i.e. Three Kingdoms period, and then presents the Buddhist sculpture from this time on, in Unified Silla, Koryŏ Kingdom and Chosŏn Kingdom. Key words: Buddhism, sculpture, iconography, Korea

This thesis focuses on the mosaic scenes of Roman era, especially on the gods and other mythological figures associated with water. The thesis is divided into 10 chapters. The first chapter is dedicated to the mythology of gods and characters and their brief iconographic characterization. Other chapters are divided by the areas that were under domination of Roman Empire. Each of these chapters has identical structure. The text deals with the mosaics and motifs of these areas in general. Then there are described subsequently collected examples of mosaics. On the basis of the description and characteristics is the last chapter sub-section dealing with similarities and comparison. The penultimate chapter focuses on a mosaic in terms of several aspects: production, technology, workshops, location, different techniques, signatures and trademarks. The conclusions that result from surveyed sample mosaics are summarized at the end of thesis. It is especially focused on the motifs and characters. Keywords Iconography, mosaics, Roman art, deities

The subject of this paper is the portrayal of funeral scenes in pictoral art of the Third Phase of Late Minoan and Late Helladic culture. The topic of this study is the iconography of pictoral vases and clay coffins (larnakes). However, in the attempt of their interpretation, the author also sometimes considers seals, frescoes and the like. Occasionally, he also uses data from other ancient cultures of the Eastern Mediterranean basin. The goal of the Essay is to clarify some of the customs and worldview associated with death within the Minoan and Mycenaean civilizations.

After the arrival of Piarists to Mikulov in 1631, the order began to spread itself all over Czech lands. When colonizing different places the Piarists usually called upon local sculptors, who then fulfilled various iconographical programs in their churches. This theses will cover Piaristic college churches in Moravia and Silesia in a period from settling down of the order to its peak phase in the half of the 18th century. Attention will be mostly paid to individual sculptors, themes and iconographical programs appearing in these churches to determine the common signs of sculptural decorations of Piaristic churches.

The subject of this work is the documentation, evaluation, and interpretation of Prague's architectural monuments from the 16th century from the point of view of musical iconography - focusing on the musical elements within the decoration of the palace of Jáchym Novohradský of Kolovrat. Keywords Musical Iconography; Renaissance Architecture; Prague; Kolovrat; Garden

By using the technique of photogrammetry for the 3D visualization of ancient Egyptian coffins decorated with magical texts and iconography, this project aims at building up a new digital platform for an in-depth study of the ancient Egyptian funerary culture and its media. It has started in August 2015 through the support of a Mellon Fellowship for the Digital Humanities at UC Berkeley and up until now it has focused on ancient Egyptian coffins kept at the Phoebe A. Hearst Museum of Anthropology of UC Berkeley. The main outcome will be a digital platform that allows to display a coffin in 3D and where users will be able to pan, rotate, and zoom in on the coffin, clicking on areas of text to highlight them and view an annotated translation together with other metadata (transcription of the hieroglyphic text, bibliography, textual variants, museological data, provenance, etc.)

This thesis examines the Temptation of Saint Anthony in the last quarter of the 19th century in France and Belgium. By analysis of particular art works it shows the variability of iconography and complexity of the Temptation theme which reflects the contemporary relation to religion, history, science, exotism, eroticism and other areas, which man living in the era of greate changes was confronted with. The importance of "The Temptation of Saint Anthony" by Gustave Flaubert is emphasized as an inspirational source for fine arts and on the general level the relation of text and visual presentation is discussed. The final part of the thesis dealing with "fin de siècle" art references the metamorphosis of the Temptation of st. Anthony in literature and fine arts as well as historical, social and religious relations in the context of which the character of Saint Anthony gradually became a permanent part of French culture.

5A Abstract This work gives the analysis of iconographic elements which are found on five gold foils. These foils depict two figures which look at each other from their profile. Foils were found in the foundations of the chieftain house in Lofot's islands in Northern Norway, which is from the Migration to the Viking period. For the reason of analysis the author demonstrates three main groups of gold objects - gold bracteates, gold foils and one medallion. On these objects we can find a pair of two figures and these objects were found in Scandinavia. The author presents here the context of such finds, iconographic elements and academic interpretations of the depiction. Author compares the elements such as type of foil, appearance of eyes, posture of man and woman, their dress and haidress with 91 foils from Scandinavia, and also with bracteates and other objects. She notices the partial concordance among these elements and the other objects and she seeks the iconographic essence and function of each foil from Borg which is later confronted with the theories of the influence of religion. Because of lack of attributes on the foils, the author's assumption is that there is no general depiction of gods on the foil. On the other hand, each foil has its own story showing people from their common life. According to...

The primary aim of this dissertation is the mapping of Jewish figural iconography in the Czech lands, primarily of the Post-Emancipation - end of 18th to 20th century - period. The research focuses mainly on the protrayal of contemporary Jewish figures found in Czech visual culture, following religious as well as gradually secularized Jews through iconopgraphic themes. In dealing with the less observant or even wholly secularized Jewish figures, the aim is to show the iconographic elements by which these differ from the majority of society. In the first part the most important aspects of the evolution of Jewish iconography are analyzed. Among these the most important ones are a liberal interpretation of the Old Testament prohibition of figural representation, Jewish emancipation involving gradual assimilation as well as the Jewish yearning for an authentic visual representation, which most likely was the main factor behind the evolution of Jewish iconography. In addition to medieval and modern Jewish figural representations special attention is given to portrayal of Prague Jews and themes found in Hebrew manuscripts as well as printed materials, where surprisingly enough a much lower number of demeaning signs are found. Furthermore a gallery of portraits showing Czech Jews is shown, including...

Many portraits of Rudolf II were painted and created during his lifetime, forming a significant component of Rudolfine art, however, they have not received a sufficient art historical attention. They document, at times at stylyzed manner, the transformation of Rudolf's appearance. However, their most important task was to demonstrate and make tangeable Rudolf's authentic appearance to the world and to celebrate his magnanimity and personality. Thus, there are many portraits that represent Rudolf as a good emperor or a brilliant commander, although, as we know, they did not correspond to reality. A special chapter of the portrait iconography also create complicated allegories about Rudolf's reign relying on representations of personifications, mythological and animal symbols using Rudolf's personal impresa. Most of the portraits follow former portrait types typical for the 16th century, as bust, standing figure or equestrian monument. However, the peculiarity for Rudolfine portraiture is the allegorical portrait Rudolf as Vertumnus painted by Giuseppe Arcimboldo that combines classical portrait with allegory.