Die barocken Gartenanlagen Kassels sind schon vielfach besprochen worden, wobei Karlsberg und Karlsaue kaum gemeinsam betrachtet wurden. Komplizierte Bauentwicklungen sowie die komplexe Biografie des Landgrafen Carl haben zu verschiedensten Interpretationen geführt. Der Aufsatz versucht, eine über Jahrzehnte seitens des Landgrafen kontinuierlich entwickelte Ikonografie aufzuzeigen, die mythologisch als Spiegel seiner Person aufzufassen ist. Eine historische Verdichtung, wie sie zu Beginn des 18. Jahrhunderts in Kassel vorgenommen wurde, ist für einen Reichsfürsten von seinem Stand ungewöhnlich. Sie stellt eben nicht ein übliches allegorisches Programm, sondern die Macht eines erstarkenden Hauses Hessen-Kassel dar. / There has already been much discussion about the Baroque gardens of Kassel, although Karlsberg and Karlsaue have rarely being considered together. Complex developments in construction, as well as the complicated biography of Landgrave Carl (Charles I 1654 – 1730, Landgrave of Hessen-Kassel 1670 – 1730), have led to a variety of interpretations. On behalf of Carl, the article attempts to present an iconography which has developed continuously over centuries, and which reflects the personality of the landgrave. An intense programme of construction, such as that which took place in Kassel at the start of the 18th century, is unusual for an imperial prince of Carl’s standing. The article will show that this was not a conventional allegorical programme, but rather an expression of the growing power of the House of Hessen-Kassel.

Das Deckengemälde der Sala terrena in Děčín, in Auftrag gegeben von Graf Maximilián Thun-Hohenstein, zeigt auf den ersten Blick das traditionelle ikonografische Programm des Wagens des Apollo. Bei einer detaillierteren Betrachtung entsteht jedoch eine Reihe von Fragen, die zum Nachdenken über den breiteren Kontext der Dekoration und zu einer vielschichtigen Analyse der einzelnen ikonografischen Aspekte des Gemäldes zwingen. Der Beitrag widmet sich diesen Fragen in Bezug auf die italienische Malerei, aber auch dem künstlerischen Schaffen in den böhmischen Ländern des 17. Jahrhunderts. / The ceiling painting in the Sala Terrena in Děčín, commissioned by Count Maximilián Thun-Hohenstein, includes an image of Apollo and his chariot, which at first sight seems to have been executed according to a standard programme of iconographic composition. However, closer examination gives rise to a number of questions, and reflections on the wider context of the work, and demands a more in-depth analysis of the individual iconographic aspects of the painting. The article addresses these questions in relation to both Italian painting and to 17th century Bohemian art.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis comprises a critical analysis of the relationship between form and function in contemporary iconography that contains religious themes. From the theoretical stance of Visual Culture iconography can be defined as ‘context-specific visual language’. I suggest that meaning is created not only through material usage but also through the hermeneutic content of images. By means of a comparison between an example of what I deem literal iconography and another of figurative iconography, I explore two divergent methods through which religiously-inspired iconography can be employed in the construction of visual texts. The two examples comprise of the evangelical poster Die Smal en Breë Weg (The Broad and Narrow Way) and Willem Boshoff’s Bread-and-Pebble Road Map (2004). / AFRIKAANSE OPSOMMING: Hierdie skripsie omvat ‘n kritiese analise van die verhouding tussen die aard en die funksionering van kontemporêre ikonografie wat religieuse temas bevat. Vanuit die teoretiese hoek van Visuele Kultuur kan ikonografie gedefinieer word as ‘konteks-spesifieke visuele taal’. Ek stel voor dat betekenis nie alleen gegenereer word deur die materiële gebruik van beeldmateriaal nie, maar ook deur die hermeneutiese inhoud daarvan. Deur ‘n vergelykende analise tussen ‘n voorbeeld van wat ek as letterlike ikonografie beskou en ‘n voorbeeld van figuurlike ikonografie, ondersoek ek twee uiteenlopende metodes waardeur religieus-geïnspireerde ikonografie werksaam kan wees in die konstruksie van visuele tekste. Die twee voorbeelde bestaan uit die evangeliese plakkaat Die Smal en Breë Weg en Willem Boshoff se Bread-and-Pebble Road Map (2004).

The diploma thesis deals with medieval mural paintings. Its aim is to describe and classify the collection in terms of time and style in the context of contemporary production of mural paintings in the 14th century in Bohemia. In the introduction, historical realtionships connected with the Cathedral of the Holy Spirit are described and the development of church service in East Bohemia is outlined. The main part is concerned with the description, placement, iconographical determination of mural paintings and their present state. It especially focuses on analysing and specification of the iconography of different scenes, figures of saints and donators. Style analysis qualifies style resemblance, analogy, parallels and confronts the mural paintings with contemporary book, mural and carving production. It also deals with the problematics of over painting accidental intervention into the monument. This part deduces the probable creation time of the whole interior decoration of the decanal sacristy. The final part evaluates and recapitulates the whole problematics. The diploma thesis offers the first detailed analysis and evaluation of the paintings in the decanal sacristy of the Cathedral of the Holy Spirit in Hradec Králové and provides complete drawing and photographic documentation.

Diploma thesis Motifs of pre-Columbian America in modern Mexican art deals with the pre- Columbian motifs in the work of three leading representatives of the Mexican muralism - Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Muralism, monumental painting with a clearly defined socio-educational function, started to develop on the initiative of the post- revolutionary Mexican government, since the 1920s of the 20th century. During its development, it gained international fame and today it is widely regarded as a uniquely Mexican style of art. An integral part of muralism form scenes from the life of pre-Columbian cultures. The main objective of this work is to analyse these scenes, the origin of particular motifs, their original meanings and meanings, which they assumed in the context of the murals. The work also reflects where muralists acquired knowledge about the Indian civilizations and what image of pre-Columbian past they created. The work also seeks to clarify the question in what specifically was the muralist access to pre-Columbian cultures innovative. The paper uses qualitative methods of analysis of the available written sources and analysis of visual materials.

The thesis seeks to explain the sexual passages of women related to fertility, such as menstruation, pregnancy and birth, in the ancient Egyptian world. The passages related to fertility have strong connotations with death in the Egyptian mythological context. The aim of the thesis is to understand this relationship, often metaphorically conveyed in iconography or in the netherworld literature. The thesis collects material from various sources, archeological, textual, iconographical, not only Egyptian, but also Greek and Roman. The methods used vary from cognitive linguistics and semiotic analysis to religious anthropology. Menstruation, pregnancy and birth in ancient Egypt are explained not only on the level of the understanding of the body of the Egyptians, but also in terms of what role they play in iconography and mythology. Furthermore, the relationship between birth and death is made with regards to fertility. The basic findings of this thesis consist of illustrating a dichotomy between the feminine nurturing principle of and masculine creative principle which appear in different contexts related to birth and death: in iconography, on the level of bodily fluids, or in mythological creation.

Tereza Kolmačková Votive offerings at selected Catholic pilgrimage sites: Theoretical reflection and anlysis of extant examples Abstract The aim of my thesis is to analyse votive offerings at Catholic Marian pilgrimage sites mainly from the early modern period. Firstly I discuss Marian images at pilgrimage sites to show who were the votive offering brought to and to describe a broader context of their placement. The thesis is then focused on analysis of textual evidence from the 17th century relating to the Czech pilgrimage site Svatá Hora and of extant objects mainly from Bavaria. Based on these sources the most common types of votive offerings seem to be painted pictures, models of body parts, statues and figures, candles and jewelry, other objects, however, occur as well. The votive offerings were mostly donated to express gratitude for a miracle. Therefore, the miracle process is also shortly discussed in my thesis. Votive offerings did not, however, only show the gratitude of a devotee but it seems that their promise was needed for Virgin Mary to perform a miracle. My analysis suggests that very important aspects of votive offerings were their performative character and the power to create and maintain relationships with Virgin Mary and other pilgrims.

In my dissertation, I inquire into the phenomenon of monastic architecture and its plastic decoration in 16th century New Spain. The aim of this work is to present Mexican monasteries and their artistic significance. In my analysis, I build on the interpretation of monastic architecture from the perspective of early colonial society, I also reflect on the individual level, assessing its impact on the conquest and colonization of America. The methodology of this research project combines analysis of historical (e.g. study of historical sources) and art historical processes (iconological analysis of E. Panofsky) with analysis of anthropological concepts (e.g. rituals of transition of A. van Gennep, thick description of Cl. Geertz, concepts of liminality, structure and communitas of V. Turner). During my PhD studies, I conducted a field trip in Central Mexico (2013), supported by a grant from the Government of Mexico. I visited and documented one hundred and sixteen monasteries and the photographic documentation is the main empirical source of my analysis which further draws from the study of historical sources and academic literature. My research primarily focuses on three aspects: 1. the monastic architecture and art; 2. the role of the monastery in the process of European conquest and colonization...

The National Gallery in Prague conserves an important masterpiece of the Fle- mish mannerist Jan Gossaert. The panel painting Saint Luke painting the Virgin was originally determined for the cathedral of Saint Roumboult in Mechelen in Belgium. The artwork represents one of the first applications of Renaissance style behind the Alps. Gossaert was educated in this new style during a visit to Italy several years earlier and combined it with traditional Flemish art. The artist worked for the court of Margaret of Austria in Mechelen around the year 1513, the year the painting originates. His traditional style became influenced by the techniques used in Mechelen by foreign artists. The theme is painted the tradi- tional manner of work on an oak panel. Renaissance and Gothic architecture is decorated by " en grisaille" sculptures. A seemingly simple theme is given deeper meaning thanks to these objects containing hidden meanings. There are also some prints from the time the panel was in the Saint Vitus Cathedral in Prague due to which we can contemplate the progress in presentation of the painting during centuries. 1

This diploma thesis deals with the life and work of the Dutch painter Geertgen tot Sint Janse in the context of the beginning of Dutch Renaissance. This diploma thesis contains an analyses of Triptych with The Adoration of the Kings from the Prague Castle Collections. In particular, the art influences and the possible inspiration by the work of Albert van Ouwater is discussed. The Adoration of the Kings is an important piece of art not only in the context of Dutch Renaissance painting but also in the context of European Renaissance at the end of 15th century. The rich symbolic apparatus of the tryptich refers to the medieval tradition, but the beginning of illusionism can be recognised from the painting as well.