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21	Zpracování gotické nástěnné malby jako kompenzační haptické pomůcky pro zrakově postižené / Processing of gothic wall painting as compensational haptic aids for the visually impaired BOUŠKOVÁ, Veronika January 2018 (has links) The theoretical and practical part is dealing with the detail of a czech wall painting with the motif of the Virgin Mary from the peak era of the Middle Ages. The theoretical part introduces the marian theme. It describes its iconography, meaning in art and closely specifies the division of images according to devotional themes. The next part is focused on the description and analysis of the motif of the Virgin Mary the Protector, which is depicted on wall painting in a cloister of the Church of Presentation of the Blessed Virgin Mary in České Budějovice. In the practical part is fundamental creation of the relief as a haptic aid for the visually impaired. Created reliefs are polychrome reconstruction of the wall paintings of the above-mentioned motif. The work is supplemented by other materials, implementation procedure, sketches and photo documentation.
22	Nástěnná malba 13. a 14. století v kostelech na území Velké Prahy. Bývalý kostel sv. Vavřince pod Petřínem a středověké kostely osad za hradbami Prahy / Wall painting of 13th and 14th century in the churches on the territory of Greater Prague. Former church of St. Lawrence bellow Petrin hill and medieval settlements outside the walls of medieval Prague Bělohlávková, Monika January 2014 (has links) The thesis is focused on medieval mural defined period 13th and 14th century in selected churches former settlements near Prague, which became a part of it in the course of the following centurie. In the introductory part I pursue the mural itself, its technology, mission and function in the space of a medieval church (cap. 2.). I did not forget outline stylish currents that came through from neighboring countries and were absorbed into the painter's developement in our country during 13th and 14th century (cap. 2.2.). The next section is devoted each painting decoration in selected churches. Most attention was directed to the former church of St. Lawrence bellow Petrin hill, which thanks to the unique preservation of several layers of time and style mural lets as show the developement of painting in selected two centurie (cap. 3.). Followes the paintings in the church of the Beheading of st. John the Baptist in Dolní Chabry, in the church of St. John and Paul in Krteň, in the church of St. Bartholomew in Kyje, in the church of the Assumption in Dolní Počernice, in the church of the Beheading of St. John the Baptist in Hostivař and in the church of the Birth of the Virgin Mary in Průhonice (cap. 4.-9.). Powered by TCPDF (www.tcpdf.org)
23	Ikonografický program výzdoby Strakova paláce na Malé Straně / Iconography of wall paintings in the Straka Palace at Malá Strana in Prague Bartůšek, Michael January 2014 (has links) Iconography of wall paintings in the Straka Palace at Malá Strana in Prague Abstract This thesis "Iconography of wall paintings in the Straka Palace at Malá Strana in Prague" deals with the interpretation of the iconographic program of the decoration of the Straka's of Nedabylice palace on Malá Strana. The work deals primarily with the wall paintings made by Swiss painter Johann Rudolf Bys, ordered by Count Jan Petr Straka of Nedabylice for his Prague residence. Particular attention is paid to the main hall of the palace, which concentrates the most valuable and the most complicated part of the iconography painted decorations. Allegorical and mythological scenes related to historical events and celebrate the Emperor Leopold I. as the victor over the Turks and Louis XIV. The work also describes and interprets the murals and stucco decorations in other salons representative storey of the palace. The interpretation of these paintings is filed under the historical and political context of the time and knowledge of personality of Jan Petr Straka, who was anticipated customer and Inventor of the iconographic program . A separate chapter is devoted to the building and the historical development of the palace until nowadays and also mentions Prague activity of the painter Johann Rudolf Bys. Keywords Petr Jan Straka...
24	Imago Dei y Lux Mundi en el siglo XII: La recepción de la teología de la luz en la iconografía del Pantocrátor en Cataluña Puigarnau Torelló, Alfons 01 June 1999 (has links) En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia. El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte. / In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty. The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court. The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art. 12th Century Metaphors Luz Liturgia Teología Cataluña Abstracción Catalonia Symbolism Liturgy Edad Media Mística Neoplatonismo Escoto Eriúgena Imagen Estética Románico Logos Metáfora. Siglo XII Pintura mural Pantocrator Middle Ages Scotus Eriugena Iconology Mysticism Neoplatonism Teología Simbolismo Light Theology Logos Image Pantocrator Romanesque Wall-Painting Abstraction Theology Aesthetics Iconología 00 2 7

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