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Images increasingly saturate our world, making present to us what is distant or obscure. Yet the power of images also arises from what they do not make present—from a type of absence they do not dispel. Joining a growing multidisciplinary conversation that rejects an understanding of images as lifeless objects, this book offers a theological meditation on the ways images convey presence into our world. Just as Christ negates himself in order to manifest the invisible God, images, Natalie Carnes contends, negate themselves to give more than they literally or materially are. Her Christological reflections bring iconoclasm and iconophilia into productive relation, suggesting that they need not oppose one another. Investigating such images as the biblical golden calf and paintings of the Virgin Mary, Carnes explores how to distinguish between iconoclasms that maintain fidelity to their theological intentions and those that lead to visual temptation. Offering ecumenical reflections on issues that have long divided Protestant, Catholic, and Orthodox traditions, Image and Presence provokes a fundamental reconsideration of images and of the global image crises of our time.
Image (Theology) --- Jesus Christ --- Iconography. --- Presence.
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"This forth volume of “Die Ikonographie Palästinas/Israels und der Alte Orient (IPIAO)” is on Iron Age until the beginning of the Achaemenid’srule. Almost 1000 objects of the pictorial art of Palestine / Israel are compared to the pictures of the neighbouring cultures. "
History of arts --- Iconography --- Israel --- Palestine
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A laugh-out-loud visual history of the strangest piece of men's clothing ever created: the codpiece. The codpiece was fashioned in the Middle Ages to close a revealing gap between two separate pieces of men's tights. By the sixteenth century, it had become an upscale must-have accessory. This light-hearted, illustrated examination of its history pulls in writers from Rabelais to Shakespeare and figures from Henry VIII to Alice Cooper. Glover's witty and entertaining prose reveals how male vanity turned a piece of cloth into a bulging and absurd representation of masculinity itself. The codpiece, painted again and again by masters such as Titian, Holbein, Giorgione, and Bruegel, became a symbol of royalty, debauchery, virility, and religious seriousness--all in one. Never has a piece of clothing revealed so much about men only by hiding their private parts. Glover's book moves from paintings to contemporary culture and back again as it charts the growing popularity of the codpiece and its eventual decline. The first history of its kind, this book is a must-read for art historians, anthropologists, fashion aficionados, and readers looking for a good, long laugh. Centuries of male self-importance and delusion are on display in this highly enjoyable new title.
Manufacturing technologies --- Iconography --- codpieces --- iconography --- costume [mode of fashion] --- menswear --- anno 1400-1499 --- anno 1500-1599
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Allegorieën --- Iconography --- kunst --- iconologie --- iconografie --- oudheid --- renaissance --- symbolen --- 7.045
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In den jüngsten bildtheoretischen Debatten hat die Idee der Zeugenschaft steigende Konjunktur erlebt. Bilder sind nicht nur »stumme Zeugen«, sie halten vielmehr die Aussagen von Augenzeugen fest, und werden so zu historischen Quellen. Sowohl die Bilder als auch ihre Betrachter werden somit selbst zu »Augenzeugen« eines Ereignisses und das »Sehen mit den eigenen Augen« zu einem Kriterium von Evidenz. Die vorliegenden Beiträge widmen sich extremen Bildern des christlichen Opfertodes, wobei sie die Bildgeschichte des Martyriums als Zeugenschaft thematisieren. Hierbei werden bislang kaum untersuchte Verbindungen zwischen der martyriologischen Bildtradition und den Evidenzverfahren in der Theologie, den Naturwissenschaften und im Bereich des Rechts in den Fokus genommen. Das Verhältnis zwischen »testimonium« und Bildevidenz wird auf diese Weise vielschichtig diskutiert, wobei der Schwerpunkt auf die Zeit um 1600 gelegt ist.
Iconography --- martyrs --- Christian church history --- Christian martyrs in art.
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Dit Standpunt is een betoog over de mogelijkheden van de iconologie, een nog steeds actuele methodiek binnen de kunstwetenschappen. Andere benamingen zijn Bildwissenschaften, anthropologie visuelle of visual studies. De iconologie legt zich toe op het doorgronden van het visuele medium in zijn culturele context, zowel uit het verleden als in de hedendaagse tijd. Barbara Baert, de auteur van dit standpunt, verdedigt de noodzaak van een multidisciplinaire iconologie. Ze gaat samenwerkingsverbanden aan met de antropologie, de theologie, de filosofie, de literatuurwetenschap en de psychoanalyse. Verre van zich te beperken tot esthetiek en stijl stelt de iconologie universeel menselijke thema’s aan de orde, zoals de zintuiglijke ervaring, de aanraking, het bloed, de vruchtbaarheid, de gezondheid, leven en dood. De auteur is de opvatting toegedaan dat de iconoloog zich niet alleen dient te interesseren voor de grote kunst, maar voor elke beeldende uiting, niet alleen voor evidente thema’s, maar ook voor schijnbaar onbeduidende motieven.In zijn voorwoord onderstreept Maximiliaan Martens het maatschappelijke belang van de radicaal innovatieve onderzoeksstrategie van Barbara Baert, in een context van de explosief toegenomen massificatie van de beeldcultuur via de sociale media, en de rol van beelden in het creëren van een (al dan niet virtuele) zelfidentiteit.Francis Strauven licht de geschiedenis en betekenis van de iconologie toe binnen de kunstwetenschappen.Bart Verschaffel vult dit standpunt aan met een reflectie op het huidige gebureaucratiseerde onderzoeksbeleid, waarbinnen de carrière van Barbara Baert de uitzondering wordt. De dominante ‘projectlogica’, gericht op een naïeve productiviteit en verplichte consensus, staat haaks op de uitdagingen van haar werk: intellectuele wendbaarheid en het verlangen om te vinden wat men niet heeft gezocht.De aanleiding tot deze publicatie was de uitreiking van de Francqui-Prijs aan Barbara Baert, lid van de Klasse der Kunsten van de KVAB, op 8 juni 2016 in het Paleis der Academiën te Brussel. Het Standpunt bevat de integrale dankrede die de laureate in aanwezigheid van koning Filip van België uitsprak.
Iconography --- iconology --- E-books --- 592 --- iconologie --- Publicaties onderzoeksinstellingen --- iconografie --- iconografie.
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The sieve exhibits a wide-ranging symbolism that extends across art history, philosophy, anthropology, psychoanalysis, and gender studies. Barbara Baert looks at the sieve from an interdisciplinary perspective and from four different innovative methodological angles: as motif and symbol, as technique and as paradigm. The sieve as motif goes back to Roman stories the Vestal Virgins. In later times, their impermeable sieve, which - according to legend - they used to fetch water from the River Tiber, was iconographically transferred to Elisabeth I as a sign of her integrity. Furthermore, the long durée life of sieves as symbolic-technical utilitarian object is investigated: in examples from the Jewish folklore, the Berber culture, and ancient Egypt.
Iconography --- iconology --- strainers [culinary tools] --- Sieves. --- Implements, utensils, etc.
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The existing studies and lines of research around the Solidarity Organization of the Peoples of Asia, Africa and Latin America and the Tricontinental design are relatively recent in the field of history. There is no work that has delved into the materials collected within the more than one hundred and eighty-four issues published by the Tricontinental magazine to date. This study, which delves into the history of the organization and into the analysis of three specific representational models of Tricontinental graphic art, aspires to offer new interpretive keys around the Femininity of the Global South, the image of Ernesto Che Guevara and the Imperialism from an alternative point of view scarcely worked until now in the field of historical research.
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Music in art --- Musique dans l'art --- Muziek in de kunst --- Yearbooks --- 78.79 --- 78.10 --- Music --- Musical iconography --- Iconography
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Music in Art was established in 1998 (replacing RIdIM/RCMI Newsletter), and it is now the major multidisciplinary journal devoted to the study and interpretation of visual sources concerned with music of the West and the East from antiquity to the present. It fosters communication between historians of art, dance, and theater with musicologists and ethnomusicologists engaged in the research social and cultural context of music-making and dance, the history of performance practice, the popular music studies, the representations of musical instruments and their decorations, and the interactions between music and visual arts in the 20th and 21st centuries.
Music in art --- Music in art. --- Musikalische Ikonographie --- Ikonographie --- Musikikonographie --- Music --- Musical iconography --- Musik --- Iconography --- Musique dans l'art --- Iconografie. --- Muziek.
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