924 Sentences With "iconographic" | Random Sentence Generator

Along the way, drawing led her to monochromatic techniques and quasi-iconographic abstraction.

We dont know identity yet but certain iconographic clues are staring to emerge.... pic.twitter.

"But we continue to support them because we find them iconographic in some way," he says.

Keep looking, and he brings to mind iconographic images of Jesus as the man of sorrows.

It is difficult to talk about, because art historians generally approach Renaissance painting in an iconographic way.

My upcoming show is an iconographic study of the pathos lurking beneath the immaculate façades of idols.

Cats, held in high esteem since at least Ancient Egypt, have emerged as timeless and universally iconographic idols.

We were there, watching them wave Russian flags and proudly carry iconographic photos of Russian President Vladimir Putin.

What fascinated me about the Apse was exactly its cryptic, all-over iconographic character (what Bataille called its fouillis).

His portraiture is intricate, blunt, and impeccably choreographed, ranging in tone from dark and disorienting to uplifting and iconographic.

The singer already has a plethora of iconographic tattoos that resemble emojis, including a pizza slice, diamond, anchor, and more.

Trilobites It took recent excavations to finally prove that the headgear depicted in hieroglyphic scenes was real and not iconographic.

But these are challenging to date with certainty, and many scholars argue that the proposed examples have insufficiently specific iconographic signifiers.

Rather, she has adopted craft techniques and teased out iconographic and formal ideas from whole fields and genres of the pictorial.

Claustrophobically tight photographs swoop in on iconographic items, cropping them with cramped proportions and inadvertently making each one even more special.

While we can see an iconographic connection between af Klint's circles and many of Kenneth Noland's paintings, this link seems beside the point.

Pertaining to the "red, white, and blue" of the American flag and the iconographic White House, coloration seems indivisible from cultural relevance and recognizability.

On one hand, the exhibition presents the usual, iconographic images: heroic photos of Stokely Carmichael, Huey Newton, and Angela Davis, the Black Panther newspaper.

"My current body of work is concerned with the iconographic significance of the black female body in contemporary culture," writes Self in an artist statement.

Gladman imagines writing in English (would the experience be different in an iconographic or hieroglyphic language?) as a form of drawing, a sequence of lines.

She shows herself to be a sharp assessor of her own career, even if she seems a little baffled by her iconographic status in pop culture.

So he invented a camera technique he called "iconographic," which involved mounting images from the original book on a movable stand in front of a camera.

I could almost subscribe to this idea were it not for the fact that the show is littered with iconographic retreads: unicorns, a flayed horse, and so on.

If you're thinking about getting new ink, it might serve you to look over this iconographic study of more than 200 of the most popular tattoos in history.

The Pedestrian is a puzzle platforming game in which you control the iconographic representation of a person, like what you might see used to gender a bathroom sign.

For Jerome to be such an iconographic outlier can only prompt us to wonder further about the significance that the desert monk might have held for the young artist.

When it's officially launched, [CREATE], as it's called, will allow users to upload their own designs or images, or pull from an iconographic database to put together an original design.

Hara relies on her intuitive ability to gauge the proper distance to and exposure for her subject while using the camera to capture iconographic moments like other vanguard street photographers.

Her Grammys style and performance echoed a lot of the same iconographic references as her photo essay, including Mimi Wata, Oshun, and the Last Supper, as Vox's Constance Grady notes.

Unlike hieroglyphs, Smithson's figures are only "sort of involved in a kind of way," as he told curator Paul Cummings in 1972, meaning that they do not convey an iconographic language.

Archaeologists have long puzzled over the purpose of the mysterious headgear, and whether they were real items worn by people, or just iconographic ornaments, like halos crowning saints in Christian artwork.

By creating iconographic tensions, "La mer se retire" — like "Le génie de l'espèce" — might also be seen as the product of Masson's specific aesthetic doctrine, which appeared to favor conflicting forms.

Indeed, the most successful mural paintings narrate through symbols — the significance of an ear of corn or the color red conjure specific associations that create an iconographic vocabulary to interpret the walls.

The absence of an encumbering context frees the iconographic details (heightened by the shifting styles, which serve to isolate and individuate them) to generate open-ended implications and push into wider arenas.

Advertise on Hyperallergic with Nectar Ads As public symbols of civic virtue and regional pride, the formal and iconographic range of monuments, memorials, and other commemorative statuary in American culture is truly astounding.

Some manuscripts even depict this type among illuminations of the Gospel of Luke itself, showing that artists preferred the evocative iconographic traditions of the noncanonical text over the unspecified setting of the canonical one.

It's startling the way the word ''Breitbart'' has become iconographic, referring not really to the website or the company but to an amorphous mass of revanchist opinions for which Breitbart receives credit or blame.

Even if Kahlo's iconographic celebrity (her brows, her flower crowns) is frustratingly reductive, it's still possible to see how such style provides her with agency, where her own face and body are a primary canvas.

As the group's founder, Luján wrote: The significance of Los Four mirrored the socio-political introspection and concerns of Raza at that time besides providing some iconographic vocabulary to initiate definitions of our ethno-art forms.

The software's computer-vision algorithms remove the iconographic narrative from classical religious/mythological paintings by extracting certain visual characteristics and transforming them into complex computational digital drawings sharply engraved into black anodized aluminum the color of Beluga caviar.

There is a speeding, automatic, ritualistic, and revelatory mode of iconographic mark-making in all the drawings in André Masson dans l'antre de la métamorphose at Galerie Natalie Seroussi, which seem to flow from one key piece: the sex-machinic "Automatic Drawing" (147).

" She goes on to say: "Indeed, the artistic research that ensued was so intensive that I would even argue that feminist artists and artistic feminism — the historiographic position from which I analyze the work of these women artists — enacted the twentieth century's greatest iconographic transformation.

Nowruz was always a time for my father to wave his Iranian flag (the one with the lion and sword, not the Islamic Republic one), to color-copy and frame Persepolis photos from library books, to present me and my brother with fake gold Zoroastrian-iconographic pins.

Even as those spaces resist being collapsed, the software overthrows, destroys, and obscures the classic iconographic theme of Judith and Holofernes, where a clever courageous woman frees her people by decapitating the invading general Holofernes (a defender of the godliness of Nebuchadnezzar II) after having seduced him.

The triptych's array of postcards, photos, drawings, texts, and ephemera, painstakingly reproduced by the artist as decorations on a pegboard wall, function as pictorial triggers for the viewer's free associations, as well as attributes (in the iconographic sense of symbolic identifiers) for the personalities of the two adult subjects.

Each of the four Quayola works create a slightly different delirium of tensions and equilibriums in this regard, competing with each other in respect to the degree of collapse of the figurative into the abstract, but all delve beneath the iconographic layer to propose proxy versions detached from the narrative.

"A lot of photos have a religious, iconographic aspect — particularly basketball, where somebody is ascending, somebody descending," Ms. Buckland said about the cover photo of her accompanying book — Bill Russell blocking Elgin Baylor's path to the basket during the 1966 N.B.A. championships, looking like elongated dueling angels in an El Greco painting.

The cap was also part of the iconographic clothing worn by the god Mithras, an eastern deity born from a rock who would later become popular in the Roman Mediterranean during the second and third centuries CE. Mithras was an Indo-Iranian god at the center of a mystery cult — meaning that initiates kept many of the rites and beliefs secret.

Paris - Kyiv. 2004, the Institute's iconographic base has been used.

Heraldic crosses are inherited in modern iconographic traditions and are used in numerous national flags.

His seat, the , "is considered an appropriate iconographic symbol to demonstrate the steadfastness of" the Fudō.

Johann Georg Heck. Iconographic Encyclopædia of Science, Literature, and Art. New York City, 1851. Page 24.

Codes of transmission 4\. Tonal codes 5\. Iconic codes (figures, signs and semes) 6\. Iconographic codes 7\.

Many scholars (including Charles Towneley) have concluded that the figures do not fit into a single iconographic set.

One famous example of the iconographic use of the Seshat's emblem is from Pharaoh, and Queen Hatshepsut's Red Chapel.

There are two common types of representations of iconographic art on ceramic materials; fineline painting and three-dimensional forms. Fineline drawing tradition is common late Moche style. Many iconographic representations have realistic animal and human images in the Moche culture. Paintings portraying deities are most commonly found on ceramic stirrup bottle spouts.

Amrhein, Laura Marie (2001). An Iconographic and Historic Analysis of Terminal Classic Maya Phallic Imagery. Unpublished PhD dissertation, Richmond: Virginia Commonwealth University.

The reliefs on the metopes of the frieze and the battlements are particularly interesting because they demonstrate that local workers used iconographic models from Rome.

Dexcoeudres (ed.) Eumousia. Ceramic and iconographic studies in honour of Alexander Cambitoglou, Sydney, 1990, p. 64-65 Most show Polyxena sacrificed over the tomb of Achilles.

The himation continued into the Byzantine era as "iconographic dress" used in art and by the lower classes, worn by Christ, the Virgin Mary, and biblical figures.

During the early classical and even up to 600 CE, the iconographic codes seem to be silenced. The Petén and Usumacinta Mayan style dominate in the Chiapas and Guatemala highlands. On the Oaxaca coast the codes become Zapote and Ñuiñe, while in Guerrero and the Guatemala Costa Teotihuacan predominates. Decomposition of the Teotihuacano political system started by the 650 CE, coincides with a revival of iconographic codes of the Pacific coast.

Turtletaub/Turtledove attributes to Richard Delbrück the same conjecture, stating that Delbrück was able to cite iconographic evidence to support the conjecture. See Turteltaub, Justinian, at p. 511.

Studies are also categorised (amongst other factors) by country, JEL code, and research method. Iconographic indicators are used to identify the relevant industry, fundamental issues, and policy areas.

In the cult of Aphrodite in Anatolia, iconographic images of the goddess with three erotes symbolized the three realms over which she had dominion: the Earth, sky, and water.

Black Kites additionally embodies ideas of the memento mori and the iconographic skulls seen frequently within Mexican culture. The work brings to mind questions of our human fate and mortality.

Later in the 1920s, an allegory of the Mexican Revolution titled The Iconographic Museum of the Revolution was begun in the cloister by Gabriel Fernández Ledesma, but was not finished.

Castagno demonstrates iconographic linkages between genre painting and the figures of the commedia dell'arte that demonstrate how this theatrical form was embedded within the cultural traditions of the late cinquecento.Castagno 1994, .

2, 2007 (in Croatian) The Center organizes the annual conference of iconographic studies, as well as lectures, workshops and symposia, international networking and research projects, and it is involved in doctoral programs. CIS also publishes IKON - the journal of the iconographic studies. The Department of Art History at the University of Rijeka in collaboration with the Department of Theology at the University of Zagreb organized the first conference of iconographic studies in 2007, and thus conceived the idea of establishing the center that is intended to become the platform for academics from different disciplines in researching the interpretation of visual arts. In 2008 the proceedings of the 2007 conference were published, and both conference and the journal continue to be organized annually.

There was a well-organized workshop that created the Vergilius Vaticanus. By leaving spaces at certain places in the text, a master scribe planned the inclusion of illustrations when copying the text. Out of tradition and convenience, there were iconographic models that were from three different artists who filled in the illustrations. For the painter to finish this work, a set of illustrated rolls was studied and adapted which were to serve as iconographic models for the Aeneid.

Cave 5 is a shallow niche more than a cave and contains the much-celebrated colossal Varaha panel of Udayagiri Caves. It is the narrative of Vishnu in his Varaha or man-boar avatar rescuing goddess earth in crisis.Debala Mitra, ’Varāha Cave at Udayagiri – An Iconographic Study’, Journal of the Asiatic Society 5 (1963): 99-103; J. C. Harle, Gupta Sculpture (Oxford, 1974): figures 8-17. Willis has described the relief as the "iconographic centre-piece of Udayagiri".

Stated differently, pixels in an icon can be moved, rotated, stretched, and so on - but not altered or added to. Research has shown iconographic motion can act as a powerful and reliable visual cue, a critical property for icons to embody.Harrison, C., Hsieh, G., Willis, K. D. D., Forlizzi, J. and Hudson, S. E. "Kineticons: Using Iconographic Motion in Graphical User Interface Design. ". In Proceedings of the 29th Annual SIGCHI Conference on Human Factors in Computing Systems.

Macrobius above; Lydus above; Augustine above VII 8; VII 4.R. Pettazzoni above p. 89: "A naïve iconographic expression of watching into the two opposite directions and thence, ideally, into every direction".

This shape is then inscribed within a perfect circular moat. This shape is iconographic and probably ties to Filarete’s interest in magic and astrology.Kostof, Spiro. The City Shaped: Urban Patterns and Meanings.

It was introduced to the Roman Martyrology by Cardinal Caesar Baronius on 23 November. The popularity of Gregory's cult can be gauged by the large number of surviving iconographic representations of him.

Anglo-Saxon Adam and Eve from the Caedmon manuscript, c. 950. The angel wears iconographic dress. English ploughmen, c. 1000 Early medieval European dress, from about 400 to 1100, changed very gradually.

Beside her is similarly a cloaked yet otherwise nude woman riding a distaff. Due to iconographic similarities to the literary record, these figures have been theorized as depictions of Freyja and Frigg respectively.

Detail of the statue's head. Illustration of Moses with horns from a 13th-century illuminated manuscript. Following the iconographic convention common in Latin Christianity, the statue has two horns on its head.Ruth Mellinkoff.

Letras, a. 2, n. 15, July 1932, pp. 10–13 Critic Silvia Dolinko has noted "significant iconographic, stylistic and narrative similarities" with Belgian woodcut artist and precursor of the graphic novel Frans Masereel.

The Bible mentions nard as being used by Mary of Bethany to anoint Jesus's feet. In the Hispanic iconographic tradition of the Catholic Church, the spikenard is used to represent Saint Joseph. (In Italian: , translates as "the spikenard represents Saint Joseph...In the Hispanic iconographic tradition, in fact, St Joseph is depicted with a branch of spikenard in his hand"). The Vatican has said that the coat of arms of Pope Francis includes the spikenard in reference to Saint Joseph.

Reginald Case (December 23, 1937 – April 24, 2009) was an American artist who made American Folk Art collages(1978) Art About Art, Jean Lipman, Richard Marshall and Hollywood iconographic mixed-media assemblages and sculptures.

Archaeologists have tentatively dated the Kassel model to be from the 6th or 5th centuries BC through iconographic and literary sources.Gottlicher, A. 2004. "A Newly Acquired Ancient Ship-model in Kassel, Germany." IJNA33.1:154.

Iconic, distant, soulful. These women are pop culture royalty. The fact that these classism killers are fashionable is inevitable. These iconographic works offer images in simple hi- contrast forms that follow essence,” notes Black.

But more conventionally, the Karura is depicted as a winged being with human torso and avian head, as in the Vajra Hall () section of the Womb Realm mandala () and other iconographic books and scrolls.

Nicholas of Verdun: Klosterneuburg Altarpiece, 1181; column #4/17, row #3/3. NB the accompanying subject and hexameter verse: "Regina Saba." "Vulnere dignare regina fidem Salemonis." The Warburg Institute Iconographic Database; retrieved 24 December 2013.

Arnout Balis, Rubens hunting scenes, Part 18, Harvey Miller, 5 Mar 1987, pp. 70–87 De Vos introduced new motifs into the iconographic tradition in his scenes of fighting cats and horses attacked by wolves.

The New York Times wrote of the club: Another feature of the room was the stuffed alligator hanging from the ceiling, in homage to the alchemists' iconographic salamander, which could live in fire without burning.

It is positioned directly facing the entrance, an unusual characteristic for a baptistry. Archeologists believe it served a symbolic purpose as an image of the Fountain of Life, a Christian iconographic symbol associated with baptism.

Because the cult of Mary was at an apex at the time, iconographic elements related to the Life of Mary vastly predominate.Powell (2006), 708 Craig Harbison describes the blending of realism and symbolism as perhaps "the most important aspect of early Flemish art".Harbison (1984), 601 The first generation of Netherlandish painters were preoccupied with making religious symbols more realistic. Van Eyck incorporated a wide variety of iconographic elements, often conveying what he saw as a co-existence of the spiritual and material worlds.

In 2008 and 2013, Maria Teresa Marabini Moevs argued on iconographic grounds that the Warren Cup is a modern forgery executed around 1900 to meet the tastes of Edward Perry Warren, the amateur collector who introduced the artifact to the world.; . Luca Giuliani, a professor of Classical Archaeology at Humboldt University, initially also argued on iconographic grounds that the Warren Cup was likely to be a twentieth-century forgery.. However, he subsequently found that evidence of substantial silver chloride corrosion conclusively established the cup's authenticity..

Together with the Dogmatic sarcophagus in the same museum, this sarcophagus is one of the oldest surviving high-status sarcophagi with elaborate carvings of Christian themes, and a complicated iconographic programme embracing the Old and New Testaments.

Portrayals of notable revolutionary figures such as Lenin were done in iconographic methods, equating them similarly to religious figures, though religion itself was banned in the USSR and groups such as the Russian Orthodox Church were persecuted.

Roland Mushat Frye discusses a common iconographic tradition of Satanic disguise as a "falsus frater, as an old Franciscan friar, or as a hermit, often with a rosary, as Botticelli represented him in his Sistine Chapel frescoes".

Ed. Danylo Husar Struk. Toronto University Press, 1984, p. 480 Rutkovych is a most prominent representative of Zhovkva Iconographic School of painting and wood carving. According to art historians,The World Through the Eyes of Folk Artists.

The Puranas and various iconographic treatises write about the mythology and iconography of Ardhanarishvara. Ardhanarishvara remains a popular iconographic form found in most Shiva temples throughout India, though very few temples are dedicated to this deity. Ardhanarishvara represents the synthesis of masculine and feminine energies of the universe (Purusha and Prakriti) and illustrates how Shakti, the female principle of God, is inseparable from (or the same as, according to some interpretations) Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation.

The iconographic program in the inner narthex consists of the menologium, a directory of Memorial Days and religious holidays. Above the western entrance is a depiction of the Dormition. The style of the frescos is that of the Palaiologan Renaissance, which came up in the 13th century and is characterised by the revival of ancient forms with iconographic innovations. One feature is the extension of the colour spectrum by warmer shades like red and the use of white as a highlighter to increase the dimensionality of the clothing.

In Lasca's anecdote, unlike Vasari's, the joke does not hinge on Sacchetti-like mockery of an ignorant layman; the point of the story is the artist's playfulness, embracing the absurd by dreaming up unexpected juxtapositions of iconographic elements.

Petraq Pepo (ed.): Materiale dokumentare për Shqipërinë juglindore. Tiranë, 1981. Vithkuq hosts several churches and monasteries that were built during its period of prosperity.Rousseva R. Iconographic characteristics of the churches in Moschopolis and Vithkuqi (Albania), Makedonika, 2006, v.

Taube 2000: Fig. 20 it was also readily adopted and/or emulated by some cultures that interacted with the former. 3) Less likely, it could also involve a compound where iconographic motifs were intertwined with glyphic signs (i.e.

Ardhanarishvara worshipped at Sri Rajarajeswari Peetam. Ardhanarishvara is one of the most popular iconographic forms of Shiva. It is found in more or less all temples and shrines dedicated to Shiva all over India and South-east Asia.Goldberg p.

20r-21r (Völuspá in Hauksbók). The manuscript was illuminated by the main illustrator from Þingeyrar, who was also responsible for the earliest part of Teiknibók. The iconographic imagery of the Þingeyrar manuscripts Teiknibók, AM 227 fol. and AM 249 e fol.

Oxford Art Online. Oxford University Press. Lublin often encouraging the viewer to interact with the work. For example, she mounted glass over painted reproductions of famous, iconographic paintings such as the Mona Lisa and installed windshield wipers onto the glass.

Further iconographic sources drawn upon were of the Green Man and hermits. As represented in Britannia Antiqua Illustrata the druid is a composite of "wild" and "holy".John T. Koch, Celtic Culture: a historical encyclopedia (2006), p. 614; Google Books.

Private seals and impressions, distinguished by a single motif sometimes accompanied by an inscription, provide a rich variety of iconographic patterns, largely reflecting the contemporary cultural and religious traditions of Iran, though only indirectly explained by the inscriptions accompany them.

Judy Chicago's epic feminist artwork The Dinner Party features a place setting for Saint Brigid on the triangular table's second wing, designated for iconographic women from the beginnings of Christianity to the Reformation.Place Settings. Brooklyn Museum. Retrieved on 6 August 2015.

As displayed in the cathedral In terms of the Elevation of the Cross, Rubens started the creative process with oil and brush on a small panel. Also called a modello, this oil sketch served as a sample painting for the patron to approve the overall story and imagery, especially paying attention to the iconographic details. The modello also served as a model for the assistants to start the preliminary steps of the full scale painting. No major iconographic changes were made in the case of Rubens's Elevation of the Cross, but a few details such as the position of the cross were adjusted.

There is an iconographic shift at the transition from sub-group E to sub-group F, in which the obverse design goes from a depiction of the forepart of a horse to the depiction of a full horse. It is possible that change coincided with the shift of minting to the new city of Lilybaeum. The gold-issue, Jenkins-Lewis Group I, is dated solely on the basis of its iconographic similarity to the final sub-group of the silver (Series I (F)), which suggests that it was minted at the same time. It may have been minted in Carthage or Lilybaeum.

Iconographic explanations from the Louvre website. The elaborate painting may have a moral justifying some of the virtues of reveling, or perhaps it is a melancholic work which exalts as virtuous, only Nicaea, the one character oblivious to the orgies around her.

On the basis of the iconographic types of portraiture in coins, the worship of Zeus, Dionysus, Artemis (Pergaia), Athena and Hygieia is attested. Furthermore, attested also is the heroic cult of Heracles, of Dioscuri and Asclepius, as well as the imperial cult.

Battista suggests that the monastery at Þingeyrar is a likely source for the manuscript. Artist A also illuminated other Þingeyrar manuscripts including AM 227 fol. (Stjórn). The iconographic imagery of Teiknibók and the Þingeyrar manuscripts AM 227 fol. and AM 249 e fol.

Sri Lanka is famous for its creations of Buddhist sculptures made of stone and cast in bronze alloy.von Schroeder, Ulrich. 1990. Buddhist Sculptures of Sri Lanka. First comprehensive monograph on the stylistic and iconographic development of the Buddhist sculptures of Sri Lanka.

Iconographic Pub. Co., 1888. p. 239. building was commissioned in 1458 by the Florentine banker Luca Pitti (1398–1472), a principal supporter and friend of Cosimo de' Medici. The early history of the Palazzo Pitti is a mixture of fact and myth.

In the following years Lorenzetto worked on the architectural decoration of the chapel and the statues under Raphael's patronage. The main iconographic theme of the chapel was the Resurrection; and visually it represented a marriage between Christianity and classical antiquity.Marcia B. Hall, cit.

Broderick, 'Custodian of Wisdom...', p. 21 The "Mantegna Tarocchi" were used as iconographic sources for the depictions of the liberal arts and the muses in the staircase.Broderick, 'Ascent to Wisdom...', pp. 98–103, 108 (note 210), and 155Ivanoff, 'La libreria marciana...', pp.

Mission, Kansas, USA, 1965.SpringerLink Chinese Charms and the Iconographic Language of Good Luck and Heavenly Protection by Alex Chengyu Fang and François Thierry. City University of Hong Kong Kowloon Tong, Hong Kong, China – The French National Library, Paris, France. First Online: 10 December 2016.

The patronage of the Sforza family continued until 1477 when Bembo seems to disappear from the historical record.Moakley, Gertrude. The Tarot cards painted by Bonifacio Bembo for the Visconti-Sforza family: an iconographic and historical study. New York: The New York Public library, 1966. Print.

Dakshinamurthy Dakshinamurthy or Jnana Dakshinamurti(Tamil: தட்சிணாமூர்த்தி, IAST:). For iconographic description of the form, see: Sivaramamurti (1976), p. 47. is an aspect of Shiva as a guru (teacher) of all fields. This aspect of Shiva is his personification of the ultimate awareness, understanding and knowledge.

Ganesha in a Japanese temple. There are more than thirty distinguishable forms of Ganesha in the Japanese iconographic tradition.Sanford, James H. "Literary Aspects of Japan's Dual-Gaņeśa Cult." pp. 287-335 in: Brown, Robert L. (editor), Ganesh: Studies of an Asian God, op. cit.

Luca Pitti (1398-1472) began work on the palazzo in 1458. Eleanor of Toledo, Duchess of Florence, bought the palazzo from the Pitti in 1549 for the Medici. Portrait after Bronzino. The construction of this severe and forbiddingThe Iconographic Encyclopedia of the Arts and Sciences.

It is the only monument of Bronze Age Greece to bear an iconographic motif that survived without being buried underground, and the only relief image which was described in the literature of classical antiquity, such that it was well known prior to modern archaeology.

The iconographic tradition of depicting the Sun with rays and with a human face developed in Western tradition in the high medieval period and became widespread in the Renaissance, harking back to the Sun god (Sol/Helios) wearing a radiate crown in classical antiquity.

Beer (1999: p. 11) employs the term "simulacrum" to denote the formation of a sign or iconographic image, whether iconic or aniconic, in the landscape or greater field of Thangka art and Tantric Buddhist iconography. For example, an iconographic representation of a cloud formation sheltering a deity in a thanka or covering the auspice of a sacred mountain in the natural environment may be discerned as a simulacrum of an "auspicious canopy" (Sanskrit: Chhatra) of the Ashtamangala. Perceptions of religious imagery in natural phenomena approach a cultural universal and may be proffered as evidence of the natural creative spiritual engagement of the experienced environment endemic to the human psychology.

Francesc Xavier Hernández Cardona, specialist in Didactics of History and Heritage, has developed models of iconography on the historical evolution of urban centres. In the context of the Tricentenari (1714–2014), and in collaboration with Guillem Hernández Pongiluppi, he presented an ambitious iconographic proposal around the siege of Barcelona in 1713-1714 and the battle of 11 September. He has also collaborated with various artists (John Chien, Francesc Riart, Guillem Hernández, Mar Hernández) on issues related to the military defense and fortification, military technology and weaponry. Noteworthy is the impulse of new iconographic, digital strategies and matte painting, with illustrators such as Guillem Hernández Pongiluppi and Mar Hernández Pongiluppi.

Appreciated by Rossinian scholarsE.g. Philip Gossett, who explored the Michotte collection in Brussels in 2014 (cf. bibliography). for the rarity of certain documents, the Michotte collection essentially contains pieces from Rossini's library: handwritten and printed scores, books, libretti and various publications, correspondence, iconographic material and various objects.

Dakshinamurthy Dakshinamurthy or Jnana Dakshinamurti(Tamil: தட்சிணாமூர்த்தி, Sanskrit: IAST:). For iconographic description of the form, see: Sivaramamurti (1976), p. 47. is an aspect of Shiva as a guru (teacher) of all fields. This aspect of Shiva is his personification of the ultimate awareness, understanding and knowledge.

After that, the conservation work started. Fragments of painted plaster brought from other collections to the museum in Hama were protected in 2005 and 2006. In 2010, the project aiming to reconstruct the iconographic program of the mithraeum’s painted decoration was commenced by Dr. Dobrochna Zielińska.

Seung Kew Choi. Tomb Complexes of Later Han Dynasty in Shandong Province: Structural and Iconographic Problems of Relief Stone Tombs, p. 64. University of Pittsburgh, 1988. ;Patron of the arts For his support during the rebellion, his brother Emperor Jing gave him many honors and privileges.

She also announced that the statue would be on the lines of the Statue of Liberty in New York City but till today it was never built. The image of the proposed statue has also attracted some criticism for the likely implications of the underlying iconographic presuppositions.

Christ in Majesty shown within a mandorla shape in a medieval illuminated manuscript. 13/14th c. seal of Stone Priory in Staffordshire, England, in the shape of a mandorla A mandorla is an almond-shaped aureola, i.e. a frame that surrounds the totality of an iconographic figure.

The works… transmit knowledge. Not only the powerful subjective awareness of light and color, but the pleasure associated with study -- in this case, study of music, astronomy, mathematics, travel, archaeology, and the iconographic, mystical and esoteric traditions of many cultures.” These textile pieces became a life’s work.

He designed many posters for exhibitions of the artist circle La Libre Esthétique. He developed a personal style which remains very recognizable. It is inspired by calligraphy and Japanese prints. The iconographic repertoire of Japanese artists such as Hokusai and Hiroshige were an inspiration for his compositions.

Conférence - Fifth International Conference of Iconographic Studies - Sovereign and Iconography of Political Power , published April 17, 2011 PURITEKA, an e-journal for students' articles has also been published. Since 2010, CIS has been a partner to a European project in culture: "Francia media – Cradles of European Culture".

Its dome rests upon the two freely standing pillars and ledges of the altar. Later, two – the western and southern – portals were added. The interior was extensively frescoed in no later than 1220s. The Timotesubani murals are noted for their vivacity and complexity of iconographic program.

The Maya, Olmecs, and Aztecs have well- documented entheogenic complexes. North American cultures also have a tradition of entheogens. In South America, especially in Peru, the archaeological study of cultures like Chavin, Cupisnique, Nasca and Moche, have demonstrated the use of entheogens through archaeobotanical, iconographic and paraphernalia.

The conceptual and artistic prospects of Neolithic petroglyphs to Middle Age iconographic culture are transposed from the surface of canvas into the forms of modern art, appearing in the context of performance. Ashot is regularly creating art exhibitions in Sisian and attracts thousands of people to take part.

MUŠ) equivalent to the Greek Hydra.Included in the MUL.APIN. The Sumerian terms ušum (portrayed with feet, see Ninurta's Dragon) and muš-šà-tùr ("birth goddess snake", portrayed without feet) may represent differing iconographic types or different demons. It is first attested by a 22nd-century cylinder inscription at Gudea.

The systematic analysis was started in 1919 and was continued through the 1990s. Now almost all the survived fragments of the frescoes are cleaned and renovated. This makes it possible to make conclusions about the stylistic features as well as about the originality of the chosen iconographic themes.

Both Frigg and Freyja are associated with weaving, combining the aspects of a love goddess and a domestic goddess.Mythological Women: Studies in Memory of Lotte Motz, 1922-1997, Fassbaender, 2002, , p. 70; M. J. Enright, The Goddess Who Weaves. Some Iconographic Aspects of Bracteates of the Fürstenberg Type.

On a third level and the top of the balconies of the second floor six medallions with busts of various gods: Apollo, Athena, Dionysus, Flora, Demeter and Helios. All this iconographic program is a true reflection of the tastes, interests, desires and base of the fortune of the marquis.

Apart from Christ and the Virgin, much iconographic dress is white or relatively muted in colour especially when on walls (murals and mosaics) and in manuscripts, but more brightly coloured in icons. Many other figures in Biblical scenes, especially if unnamed, are usually depicted wearing "contemporary" Byzantine clothing.

Not much is known about the Sasanian navy, which never really became a major force. Information about the Sasanian navy is mostly in oriental sources, i.e. works of Arab, Persian, Chinese, and Armenian authors. There is little information in the Roman/Byzantine sources, and almost no iconographic information.

The Four Seasons are an ancient decorative motif. Usually each season is represented as an allegorical figure bearing traditional iconographic symbols. The Romans typically represented the seasons as voluptuous goddesses known as the Horae. This imagery carried over into neoclassical art and later became especially popular as garden sculpture.

H installing the student, Angelos Pitzamanos in Italy is not irrelevant to the trends of the painting of Andreas Pavias his teacher. Adaptation to more modern Italian influences (Bellini), recognized in the art of Nicholas Tzafouri, meticulous miniatures with "lyrical mood," which creates this new iconographic types (Akra Tapeinosi).

The 1669 eruption has been portrayed in a number of contemporaneous iconographic works and is the most commonly depicted eruption of Etna in its iconography. After 1669, the number of large eruptions of Etna decreased and the interest in portraying the volcano and its eruptions waned as a consequence.

Lord Murugan with Deivaanai (on right of image) and Valli (on left of image). Deivanai is generally depicted with her husband, particularly in an iconographic form called Senapati. She sits on the left thigh of the six-headed and twelve-armed Kartikeya. One of his arms holds her waist.

Both Frigg and Freyja are associated with weaving, combining the aspects of a love goddess and a domestic goddess.Mythological Women: Studies in Memory of Lotte Motz, 1922-1997, Fassbaender, 2002, , p. 70; M. J. Enright, The Goddess Who Weaves. Some Iconographic Aspects of Bracteates of the Fürstenberg Type.

Most of the Byzantine enamels known today are from the 9th to 12th centuries. The period of Iconoclasm from 726-787 AD meant that most examples predating the 8th century were destroyed because of their iconographic nature, though there are a few examples thought to have been made earlier.

The vault, conversely, is decorated with frescoes portraying the Four Evangelists against a light blue background, surrounded by cherubs, each of them respectively recognizable by the lion (Saint Mark), the eagle (Saint Luke), the angel (Saint Matthew) and the bull (Saint John) in accordance with the iconographic tradition.

The Thirty-Five Confession Buddhas are a common subject depicted in Himalayan Buddhist paintings and sculpture. There are at least three different iconographic systems for depicting the Thirty-Five Buddhas, based on the different descriptions found in ritual texts and commentaries by different authors including Nagarjuna, Sakya Paṇḍita, Jonang Tāranātha and Je Tsongkhapa. The three main iconographic traditions are: # The system attributed to Nagarjuna where the 35 Buddhas are depicted with different objects in their hands, # The system of Sakya Paṇḍita where the 35 Buddhas are depicted with hand gestures only (no hand objects), and # The system based on Je Tsongkhapa's personal vision of the 35 Buddhas where only some of the Buddhas have objects in their hands.

Chandragupta II depicted with achkan on gold coinage, Gupta Empire Greeks mention achkan and gown like dresses worn by men and women all the way during mauryan period, The earliest iconographic evidence for such a dress appears in sculptures and rock relief in Iran as well as paintings from Parthian Empire. The earliest iconographic evidence in India is from Kushan Empire which was founded by Central Asian nomadic tribe called Yeuzhi by the Chinese. However, since the Yeuzhi Kushans adopted many aspects of their culture from Greco Parthian Kindgom, therefore its plausible that this dress is the legacy of Parthian culture. It can be distinguished from the Sherwani through various aspects, particularly the front opening.

One particular feature mentioned in this regard is the iconographic themes of non-Buddhist traditions emanating from the protectress deity Wi-nyu-myin. The main temple is conjectured to represent the entire Vajradhatu Mandala.The monastery has a huge collection of manuscripts and Pramana texts, which were filmed between 1991 and 1998.

The architects were not originally planning frescoes on the inside walls. They appeared only in the second half of the 11th century. It is believed that the walls were painted by a group of at least four artists, who created a monumental harmonious composition. Each apse contains its own iconographic cycle.

Arirang Festival in North Korea North Korea's yearly Arirang Festival, also known as the Mass Games, in Pyongyang capitalizes on choreography and card stunt to create sweeping images across the stadium. The festival is famed for the use of this technique as part of the iconographic propaganda art of the regime.

The most characteristic of all the iconographic elements of the ikenga, the horns (opi), also carries this lii, also carries this connotation. The Igbo proverb says, "The ram goes into a fight head first" (Ebune jị isi éjé ogụ); that is, one must plunge into a venture in order to succeed.

"Hawkins, Margaret. (October 31, 1986). "Performance art celebrates seasons," Chicago Sun-Times, p. 37. According to New Art Examiner's Garrett Holg, the cycle "examines the distinctions ‘modern' civilization makes between science and myth, between fact and imagination," while its "displayed objects, like ‘ethnological artifacts' have a powerful and iconographic presence.

Claire J. Farago, Taylor and Francis Inc, Leonardo's Art – Twentieth-Century Connoisseurship and Iconographic Studies, Leonardo's Projects from 1500–1519, Vol 3 (1999) p 397 Salaì died in 1524 as a result of a wound received from a crossbow in a duel and was buried in Milan on 10 March 1524.

63-78 There were also frescoes of Adam and Eve as well as David and Goliath. The frescoes clearly followed the Hellenistic Jewish iconographic tradition, but they are more crudely done than the paintings of the nearby Dura-Europos synagogue.F. Snyder, Ante pacem: archaeological evidence of church life before Constantine, pp.

Curtis, Gerald, Ford Madox Brown's Work: An Iconographic Analysis, "The Art Bulletin", Vol. 74, No. 4 (Dec. 1992), pp. 623–636. The setting is an accurate depiction of The Mount on Heath Street in Hampstead, London, where a side road rises up above the main road and runs alongside it.

The monumental architecture of Mesoamerica was decorated with images of religious and cultural significance, and also in many cases with writing in some of the Mesoamerican writing systems. Iconographic decorations and texts on buildings are important contributors to the overall current knowledge of pre-Columbian Mesoamerican society, history and religion.

An overhead canopy is flanked by 34 children's stalls, seventeen on each side. The canopies and stalls are decoratively framed in an architectural style typical of the area. This includes a traditional iconographic motif of Renaissance marquetry. The seats are separated from each other by arm rests with plant motifs.

Spear was educated in art history at the University of Chicago (B.A., 1961) and Princeton University (Ph.D., 1965). His research and publications have focused on seventeenth-century European art, ranging from a two-volume catalogue raisonné on Domenichino (1581–1641) to studies based on iconographic, psychoanalytic, feminist, and economic methodologies.

O22, O22 and an alabaster Basin, no. W3. W3 An alternate hieroglyph, the Basin combined with the Hall, W4is represented by Gardiner no. W4. A ligatured combination of the Basin with the Pavilion, O23:W3 is shown in some iconographic scenes, (Ramses II, Temple of Amun at Karnak).Wilkinson, 1992, p.

The coastal Moche culture also co-existed (or overlapped in time) with the slightly earlier Recuay culture in the highlands. Some Moche iconographic motifs can be traced to Recuay design elements. The Moche also interacted with the neighbouring Virú culture. Eventually, by 700 CE, they established control over the Viru.

It is carved with twenty-four figures, divided into three levels. The identity of some figures, and the meaning and iconographic intent of the work have been much debated, but it is clear that the piece is intended to assert the continuity and dynastic legitimacy of the Julio- Claudian dynasty.

Iniciación al Arte Románico. Fundación de Santa María la Real. Aguilar de Campo. The walls of the most important and significant parts (especially the apses) were lined inside with iconographic paintings, many of which have come down to the twenty-first century, such as those belonging to churches in the Tahull Valley.

A later form was attached as a brooch, with the thematic, iconographic function and statement outweighing its actual use as a piece of jewellery for adornment. The thematic statements were typically about the pharaoh or statements of ancient Egyptian mythology and culture. They are usually of gold with cloisonné inlays of gemstones.

In the Tarot, the 8th card, Justice, with a figure of Justitia, can thus be considered related to the figure of Astraea on historical iconographic grounds. According to legend, Astraea will one day come back to Earth, bringing with her the return of the utopian Golden Age of which she was the ambassador.

The iconography of Kankalamurti is discussed in all Shaiva Agamic texts, including Amshumadbhedagama, Kamikagama, Supredagama, Karanagama and the iconographic work Shilparatna; the texts are mostly South Indian in origin.Rao p. 303 The iconography is quite similar to Bhikshatana-murti. The chief difference is that Kankala-murti is clothed and Bhikshatana is nude.

Em:t releases are noted for their striking graphic design, and the 0095 cover is no different. It displays a very iconographic invertebrae ctenophora zooming off like an alien spaceship. The high resolution nature photography is believed to have been chosen by an artist with layout by British design firm The Designers Republic.

Didi-Huberman, Georges (1982) The Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière, translated (2003) by Alisa Hartz. Cambridge, Massachusetts and London, England: MIT Press. A scholarly art- historical reworking of Charcot's iconographic neurology.Gordon, Rae Beth (2009) Dances with Darwin: Vernacular Modernity in France 1875 - 1910 London: Ashgate Publishing.

For this reason the bracteates are a target of iconographic studies by scholars interested in Germanic religion. Several bracteates also feature runic alphabet inscriptions (a total of 133 inscriptions on bracteates are known, amounting to more than a third of the entire Elder Futhark corpus). Numerous Bracteates feature swastikas as a common motif.

Local folk tradition refers to a number of icons and sacred sites to the eighty-four Mahasiddha at Bharmour (formerly known as Brahmapura) in the Chaurasi complex.Hāṇḍā (1994), p. 85 The word chaurasi means "eighty-four". A number of archaeological sacred sites require iconographic analysis in the Chaurasi complex in Chamba, Himachal Pradesh.

In fact, it seems quite probable that they stem from the same artistic and iconographic milieu. We may further note the cherub thrones depicted on a Late Bronze/ Iron I ivory from Megiddo, the sarcophagus of Ahiram (cf. Pritchard 1969: figs. 332, 456-59, respectively), a relief from Hadrumetum/Sousse (Cintas 1947: pls.

In Bangladesh, the four-day-long Sharadiya Durga Puja is the most important religious festival for the Hindus and celebrated across the country with Vijayadashami being a national holiday. In Sri Lanka, Durga in the form of Vaishnavi, bearing Vishnu's iconographic symbolism is celebrated. This tradition has been continued by Sri Lankan diaspora.

Holzer, Harold; Medford, Edna Greene; Williams, Frank J. The Emancipation Proclamation: Three Views (Social, Political, Iconographic) , LSU Press, 2006, pp. 96-97. Accessed December 29, 2015. Although mostly known for his portraits in oil, Marchant also created miniatures. He was elected to a number of arts academies and exhibited regularly during his lifetime.

František Bělský (also known as Franta Belsky; 6 April 1921 – 5 June 2000) was a Czech sculptor. He was known for large-scale abstract works of public art as well as more iconographic statues and busts of noted 20th-century figures such as Winston Churchill and members of the British Royal Family.

205 Tantric practitioners believe that Tara is attracted to bones and skeletons and the cremation ground is her preferred residence. Goddess Tara's iconographic depictions show her amidst cremation grounds. Tantric practitioners have, therefore, been flocking these grounds for generations for performing their Tantric sadhana (spiritual practice); many Sadhus permanently reside here.Kinsely, p.

The palace was renovated in 2007 under the supervision of the Romanian Ministry of Culture. The Orthodox Unification Cathedral was built between 1921 and 1923, following the plans of architect D.G. Ștefănescu and built under the supervision of eng. T. Eremia. The frescoes were painted by Constantin in a traditional iconographic style.

According to experts, the image in the pot strongly resembles the iconographic portrayal of Buddha in Siam, India, and Nepal. The pot shows Buddha Amithaba in the tribhanga pose inside an oval nimbus. Scholars also noted that there is a strong Mahayanic orientation in the image, since the Boddhisattva Avalokitesvara was also depicted.

Helander uses Cartoon elements in his collages to add comic spice to the iconographic level of meaning. The presence of these images is prominent enough to sway the tone towards popular imagery without becoming Pop Art itself, rather. Helander creates a tone pointing towards the eccentric and personal content found in small motifs.

Moritz has got a two tattoos on his right elbow as one dedicated to his parents and one is an iconographic symbol of Star and crescent. Moritz learned to speak Turkish during his spells in Turkey. In 2010, he expressed that he would be delighted to play at Turkey national football team.

They have also become more symbolic and less strictly representational. Throughout its history zurag has encompassed a diverse range of visual styles. Flat, brightly coloured shading in the Buddhist tradition is used alongside European-style realism and geometric perspective. Some zurag artists co-opted older Buddhist iconographic conventions for purely secular topics.

Female busts symbolizing the four seasons appear in the four corners immediately outside the zodiac.Sukenik, Beth Alpha, 38. In the center, Helios appears with his signature Greco-Roman iconographic elements such as the fiery crown of rays adorning his head and the highly stylized quadriga or four-horse-drawn chariot.Sukenik, Beth Alpha, 35.

"Artists at Work during the Reconstruction." Le Havre, World Heritage Site. The repeated pattern reflects Huré's dedication to the symbolic power of color and her rejection of iconographic representation. Each side of the octagon has its own distinctive color combination of four to six colors repeated up each layer of the side.

The differences between the two Muses are both formal and iconographic. Comedy is painted in the rococo style, reminiscent of the work of Antonio da Correggio. Tragedy is drawn in the neoclassical style, after the style of Guido Reni. The painting employs elements of Augustan imagery, with its clothing, light, and shadow.

Strickland and Hardy in 2005 took this argument further, suggesting that the shortbow was a myth and all early English bows were a form of longbow. In 2011, Clifford Rogers forcefully restated the traditional case based upon a variety of evidence, including a large scale iconographic survey. In 2012, Richard Wadge added to the debate with an extensive survey of record, iconographic and archaeological evidence, concluding that longbows co-existed with shorter self-wood bows in England in the period between the Norman conquest and the reign of Edward III, but that powerful longbows shooting heavy arrows were a rarity until the later 13th century. Whether or not there was a technological revolution at the end of the 13th century therefore remains in dispute.

The illustrations were added by three different painters, all of whom used iconographic copybooks. The first worked on the Georgics and parts of the Eclogues; only two worked on the Aeneid. Each individual artist's illustrations are apparent based on their ability. The first artist is distinguished by his knowledge of spatial perspective and anatomy.

Muthuswami Dikshitar, the carnatic composer, whose songs abound with geographic and iconographic references, sings of the curative properties of the river Thamiraparani. To him, the Goddess at Tirunelveli, is Hima-saila-sutaa (daughter of the mountain snow). The local language is Tamil. Adivaraha Perumal temple represents the principal deity in the present day Kallidaikurichi.

Iconographic parallels can be identified between Simone Martini's figure of Saint Louis of Toulouse and Arnolfo di Cambio's figure of Charles of Anjou.Gardner, “Saint Louis of Toulouse,” 24. Both figures are shown frontally and are seated on lion-shaped thrones; they wield objects of power and wear jeweled crowns.Gardner, “Saint Louis of Toulouse,” 24.

Unusually he presents an idealised and straightforward iconographic image of Christ.Harbison, 162 Although emotive, the panel follows a very traditional presentation of Christ in the hieratical manner, facing directly out of the space. The usual title, Vera Icon, refers to the Eastern tradition of icons in the "Without Hands" convention."Head of Christ Petrus Christus".

West Michigan Travel Association, Poe Reef Light. The Poe Reef Light can be seen from the air by chartered seaplane; these amphibious machines can be hired to make a tour of the Mackinac Straits and environs. Because of its relatively remote location, the Poe Reef Light does not have a high iconographic profile. Detroit News.

One of the major iconographic uses in ancient Egypt of the ox-foreleg was as part of the food offering to the individual being honored (the deceased), and engraved upon their steles. Often, besides lying on the top of the pile of food offerings, it is shown being presented to the honored individual, thigh first.

These include with animals, dance, and goddesses. One common iconographic motif in Minoan art, especially frescoes, is bull-leaping; the example illustrated shows leapers and a bull. Other themes are varied, including for example: 'pottery and a plant'-(with 5 moon/planet crescents), 'confronted-goats', and a 'single bird'.The March of Archaeology, pg. 63.

It is generally made of metal, round, having the iconographic likeness of an angel with six wings, and is set on the end of a pole. Hexapteryga of carved, gilded, or painted wood are also found. They are usually made in pairs. For historical use in Western Christianity, especially the Latin Church, see flabellum.

Thondup and Talbott identify dharmakaya with the naked ("sky-clad"; Sanskrit: Digāmbara), unornamented, sky-blue Samantabhadra: Fremantle states: The colour blue is an iconographic polysemic rendering of the mahābhūta element of the "pure light" of space (Sanskrit: ākāśa).Fremantle, Francesca (2001). Luminous Emptiness: Understanding the Tibetan Book of the Dead. Boston: Shambala Publications. . p.

Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.Debjani Paul (1978) Deity or Deified King? Reflections on a Unique Vaiṣṇavite Sculpture from Java', Artibus Asiae, Vol. 40, No. 4 (1978), pp. 311–333.

113 Works of art produced during this period are characterized by a unique fusion of Tibetan and Chinese artistic approaches. They combine a characteristically Tibetan attention to iconographic detail with Chinese-inspired decorative elements. Inscriptions are often written in Chinese, Manchu, Tibetan, Mongolian and Sanskrit, while paintings are frequently rendered in vibrant colors.Berger 1994, pp.

In this book he characterized the art of chalcedonian Armenians as a separate iconographic tradition, which combined Byzantine, Georgian and Armenian elements.A. Lidov. L'art des Armeniens Chalcedoniens. Atti del Quinto Simposio Internazionale di Arte Armena 1988, Venezia 1992, pp.479–495 Drawing upon the seminal works of A. Grabar, H.Belting, H. Maguire and Chr.

Later these iconographic models evolved in the Middle East and Egypt into a single column representing two torsos and finally a single body with two heads looking at opposite directions. Numa in his regulation of the Roman calendar called the first month Januarius after Janus, according to tradition considered the highest divinity at the time.

Man-prisoner hieroglyph – iconography from predynastic Battlefield Palette. The ancient Egyptian Man-prisoner is one of the oldest hieroglyphs from Ancient Egypt. An iconographic portrayal from predynastic Egypt eventually led to its incorporation into the writing system of the Egyptian language. Not only rebels from towns or districts, but foreigners from battle were being portrayed.

Two items commonly used by indigenous Mexicans. The mortar is called a Metate and the stone lying across it a Mano. It is held in both hands and used to grind corn, cacao and other basic foods. The three most popular iconographic elements of ceremonial metate seem to be saurian, bird, and jaguar creatures.

The were-jaguar can also be represented as a harpy eagle. Peter Furst argues that the were-jaguar's equivalent in the sky is the harpy eagle. Both are powerful creatures associated with ancient Olmec shamanic transformation. Furst makes this conclusion based upon iconographic evidence and the fact that harpy eagles are also apex predators.

A 12th-century bronze Bhikshtana in the Nayak Palace Art Museum, Thanjavur. Like many other bronzes, the separately-cast trishula is missing from the hand. The iconography of Bhikshatana is discussed in all Shaiva Agamic texts, including Amshumadbhedagama, Kamikagama, Supredagama, Karanagama and the iconographic work Shilparatna; the texts are mostly South Indian in origin.Rao p.

Vajrakilaya (dark purple) with consort Diptachakra (light purple). Two demons lie crushed under his feet. Vajrakilaya is a wrathful form of the Buddha Vajrasattva. His distinctive iconographic trait is that he holds the dagger called phurba (see Kīla (Buddhism)). Indeed, the word “Vajrakilaya” designated both the kīla, and its ritual use, and the deity.

The painting originated in the town of Puertomingalvo, a municipality in the province of Teruel, Aragon, Spain. This information comes from photographs taken by antique archaeologist and scholar Juan Cabre, between 1908 and 1910 of the altarpiece within the Puertomingalvo parish church. Other evidence of this location is found on preserved photographic prints showcasing the iconographic repertoire of Spain.

Judith was one of the virtuous women whom Van Beverwijck mentioned in his published apology (1639) for the superiority of women to men,Loughman & J.M. Montias (1999), Public and Private Spaces: Works of Art in Seventeenth-Century Dutch Houses, p. 81. and a common example of the Power of Women iconographic theme in the Northern Renaissance.

The mandapa inside the temple is a square with side, while the sanctum is 7 feet by 6 feet. Outside, Cunningham reported four square pillars. The back wall of the cave has a deity carved into the rock wall, but this was damaged by chiseling later at some point. The iconographic markers are gone and the deity is unknown.

These iconographic details emphasize the theological rhetoric of the icon. The Virgin appears slender and frail, looking somewhat apprehensive at the approaching angel. The Byzantine artist has embellished the Annunciation Icon with motifs of spring and fertility.Belting, Hand, Likeness and Presence, A History of the Image before the Era of Art, (Chicago, The University of Chicago Press, 1994) 277.

The main iconographic theme is the Second Coming. In the southeast corner of the narthex there is an interesting dedicatory inscription of John the Protospatharios. The inscription of a high- ranking Byzantine official is of wider importance, not only for the church, but also for the role of the region as an important administrative centre controlling the island's hinterland.

Sutnar implemented both typographic and iconographic characters that enabled viewers to quickly and successfully navigate through an overwhelming amount of information. He did this by making use of grids, tabs, icons, and symbols. Sutnar and Holm published New Patterns in Product Information in 1944. Their reductive approach aimed for clarity and simplicity for all users with "active design elements".

First the vessel is described in its overall condition followed by an iconographic interpretation. If possible an artist or a workshop will be determined. Integral parts of the documentation are photographs and hand- drawings depending on the condition of the vessel and the projects budget. The last step of the documentation for a CVA volume is a chronologic classification.

The most iconographic master in zen art is the meditating Daruma. Daruma was the Indian monk who founded this branch of Buddhism and served as the first zen patriarch. He is usually rendered with a cloak, beard, and tan. He is typically meditating (as meditation is central to zen buddhism) and is without arms and legs.

He changed to the study of painting under a teacher named Luquin and then entered the school of Jacques-Louis David. At the age of 22 he successfully competed for the Prix de Rome with a painting of the Story of Joseph and his Brethren.Heck, Johann Georg. (1860) Iconographic Encyclopaedia of Science, D. Appleton and company.

Lingayatism is generally considered a Hindu sect as their beliefs include many Hindu elements. Worship is centered on Shiva as the universal god in the iconographic form of Ishtalinga. Lingayatism emphasises qualified monism, with philosophical foundations similar to those of the 11th–12th- century South Indian philosopher Ramanuja. Lingayatism rejects any form of social discrimination including the caste system.

Ellora Cave No. 29 The earliest of the Hindu caves at Ellora appear to have been built during the Kalachuri reign, and possibly under Kalachuri patronage. For example, the Ellora Cave No. 29 shows architectural and iconographic similarities with the Elephanta Caves. The earliest coin found at Ellora, in front of Cave No. 21 (Rameshvara), was issued by Krishnaraja.

Ljubo Karaman, Starohrvatska prosvjeta III/4,1955; pp. 201-205 Following Karaman's arguments and his own later iconographic studies, FučićBranko Fučić, Sveti Juraj i zeleni Juraj, Zbornik za narodni život i običaje Južnih Slavena, book 40. (1962), pp 129-— 150. has voiced an opinion that this figure represents Saint George—a saint to whom Plomin church is dedicated to.

The Mars of Todi, a life-sized Etruscan bronze sculpture of a soldier making a votive offering, most likely to Laran, the Etruscan god of war, late 5th to early 4th century BC After the 5th century, iconographic depictions show the deceased traveling to the underworld.Krauskopf, I. 2006. "The Grave and Beyond." The Religion of the Etruscans.

Carlo Dolci, Madonna in Glory, c. 1670, oil on canvas, Stanford Museum, California A circle of stars often represents unity, solidarity and harmony in flags, seals and signs, and is also seen in iconographic motifs related to the Woman of the Apocalypse as well as in Baroque allegoric art that sometimes depicts the Crown of Immortality.

Both armrests and backs are profusely decorated with carvings that are iconographic animal symbols, mythology, allegories, genre scenes and so on. In the center of the choir is lectern furniture that supports the great liturgical choral music book, written in large characters that can be read from afar by the monks. The organ was placed in a lateral.

The selection was done by Flexa Ribeiro, Archimedes Memória and Rodolfo Chambelland, with their task being searching for new iconographic portrayals of historical interpretations of independence. Contrarily to triumphalist portrayals of Dom Pedro in the independence process, such as by Pedro Américo, the painting by Bracet explores the emperor's intimacy, having him play a domestic and even feminine role.

Dominus Rincaleus Rincaleus is a Thracian god, known from a few epigraphic inscriptions found near Krinides, Philippi, Greece. He is identified with ancient Greek god Apollo and the Thracian Heros according to iconographic tradition of the bas-relief The dedications were made by Roman citizens.The theonym is written in Latin. Probably Rincaleus is local deity and syncretized with Apollo.

Andreas Pavias was able to paint in a variety of styles. Created iconographic types -protypa for posterity (Crucifixion -pieta). To fulfill a of the often xaraktirizetai from entoni realistic mood, laid due to an earlier trend, antiklasikou character of Palaiologian painting. In "italokritika" projects follows the Late Gothic style, that realism fits with his artistic temperament.

"Picasso's Communist Interlude: The Murals of War and Peace". The Burlington Magazine, Vol. 122, No. 928, Special Issue Devoted to Twentieth Century Art, July, 1980. p. 464. It stands in the same iconographic tradition of an earlier work modeled after Goya: Édouard Manet's series of five paintings depicting the execution of Emperor Maximilian, completed between 1867 and 1869.

Similar iconographic and prosaic parallels have been evidenced from Mesopotamian and later Jewish sources where the king who restores the cult is seen like a deity passing on divine symbols. The remainder of the text records the gifts of the royal grant, similar to a kudurru and discusses the practices of the temple, priestly rules, dress codes and regulations.

Scholars place these manuscripts together based on similarities in artistic style, script, and textual traditions. The fully developed style of the ornamentation of the Book of Kells places it late in this series, either from the late 8th or early 9th century. The Book of Kells follows many of the iconographic and stylistic traditions found in these earlier manuscripts.

The local sculptors took over only the iconographic scheme of the Renaissance tomb; their works (e.g. tomb of Lew Sapieha, ca. 1633, at Church of St. Michael) are characterized by conditionality of forms, stylization. During this period local and Western European painters created religious, mythologic compositions, portraits, which were intertwined with late Gothic and Baroque features.

It shows the town of San Isidro with its early eighteenth century church. "It has great iconographic value, because it makes us know for the first time the aspect of one of those rarely depicted towns of Buenos Aires province, with its miserable dwellings of primitive architecture beside impassable streets", though today the town is prosperous.

The first actor known to have played Hamlet in North America was Lewis Hallam Jr. in the American Company's production in Philadelphia in 1759.Morrison (2002, 231). David Garrick as Hamlet in 1769. The iconographic hand gesture expresses his shock at the first sight of the ghost. John Philip Kemble made his Drury Lane debut as Hamlet, in 1783.

The Center for Iconographic Studies (CIS) is a research center in the Faculty of Humanities and Social Sciences. CIS was founded with the idea of promoting iconography and iconology, as academic disciplines, and to establish a platform for academics from different disciplines to research the interpretation of visual arts.Katarina Briški, Početak ambicioznog projekta, Kvartal, vol. IV, n.

Beresford Hope Cross - circa 9th century Empress Zoë from Monomachus crown - early 11th century The craft of cloisonné enameling is a metal and glass- working tradition practiced in the Byzantine Empire from the 6th to the 12th century AD. The Byzantines perfected an intricate form of vitreous enameling, allowing the illustration of small, detailed, iconographic portraits.

The style of the workshop was greatly influenced by the Bedford and Boucicaut Masters. And, the iconographic models for many of the assistants’ illuminations came from the Limbourg Brothers, and the Angevin Bible, Bible moralisée. The copied Bible moralisée illuminations in the margins were done rather quickly and imperfectly by two or three minor painters from the Rohan workshop.

Cf. the archive of the parish church of the Holy Blood ('Heilig Blut') in Munich. In 1994 he received the PhD in Art history at the University of Cologne. The dissertation was published in 1998 as The works of mercy in the Art from the 12th-18th centuries. Iconographic changes caused by the modern reception of Rhetorics.

One nexus of carved iconographic traditions, the "yoke-palm-axe" complex, was found from Jaina Island in coastal Campeche to the Huasteca (and in between, in Aparicio, Veracruz), in association with the pelota ballgame, decapitation, and tooth mutilation;Ochoa, p. 43 however, this may reflect coastal trade contacts after the Huastecs were established in the Huasteca.

According to Sabrina Higgins, "When looking at images of the Egyptian goddess Isis and those of the Virgin Mary, one may initially observe iconographic similarities. These parallels have led many scholars to suggest that there is a distinct iconographic relationship between Isis and Mary. In fact, some scholars have gone even further, and have suggested, on the basis of this relationship, a direct link between the cult of Mary and that of Isis."Journal of the Canadian Society for Coptic Studies 3–4 — 2012 Sabrina Higgins: "Divine Mothers: The Influence of Isis on the Virgin Mary in Egyptian Lactans-Iconography" Conversely, Carl Olson and Sandra Miesel dispute the idea that Christianity copied elements of Isis's iconography, saying that the symbol of a mother and her child is part of the universal human experience.

In a prominent element of the complex iconographic work, the Seven gifts of the Holy Spirit descend to her on seven rays of light from the upper window to the left, with the dove symbolising the Holy Spirit following the same path. The seven rays on which the doves descend are unique elements in the painting in that they are of the heavenly realm rather than the earthly realm, with the difference shown by the artist through the use of gold leaf rather than ordinary oil paint. Only the seven rays are so treated, and while all of the other light sources in the painting cast shadows, the seven rays do not.Gifford, E. Melanie, The Art Bulletin, March 1999:Van Eyck's Washington 'Annunciation': technical evidence for iconographic development.

Abbas Daneshvari connects the light of the lamp with the light of the god, thus with paradise. Daneshvari further associates the interior paintings with paradise by emphasizing the iconographic role of peacocks, in sunburst medallions, as the bird of paradise. Peacocks appear in the Islamic medieval culture of Iran in literature and art objects such as textiles and ceramic wares.

A 12th century depiction of a cloaked but otherwise nude woman riding a large cat appears on a wall in the Schleswig Cathedral in Schleswig-Holstein, Northern Germany. Beside her is similarly a cloaked yet otherwise nude woman riding a distaff. Due to iconographic similarities to the literary record, these figures have been theorized as depictions of Freyja and Frigg respectively.

Iconographic Collection, 1848-2005 and undated Duke University Libraries The J. Walter Thompson Company was incorporated in 1896. In 1899, Thompson opened an office in London. An avid traveler, Thompson went abroad nearly every summer for twenty years, and rarely came back without important accounts. He saw New York as "the flagship" office for a company with no geographical restrictions.

The palazzo is lined with frescos by the most prominent Milanese baroque artists, including Ercole Procaccini the Younger, the Montalto brothers, Antonio Busca, Giovanni Ghisolfi, Giuseppe Nuvolone, and Federico Bianchi. The painted cycles are part of a complex iconographic project, involving recreated landscapes and mythology, to communicate the economic and political power of the House of Arese under Spanish Habsburg rule.

After restoration the frescoes were partly preserved. Classic iconographic representations of Saint Ambrose are of an old man, but in this church's frescoes both the bishop and Saint Sebastian are represented as young people. The frescoes have a gothic style that also characterizes the altarpiece. The author was probably influenced by artistic trends of northern Europe as well as by Giotto.

The ("Illustrated Compendium of Buddhist Images") is a collection of Buddhist iconographic sketches. Originally published in 1690, it comprises more than 800 sketches, inspired by the Chinese style of paintings called Paihuo, with the Buddhist icons divided into five parts and further categorized. In Edo- period Japan the Butsuzōzui compendium was the most widely distributed source for information on Buddhist and Shinbutsu deities.

The pigment that remained upon this chacmool sculpture was crucial for the iconographic identification of the figure, as it does not contain any iconography or symbols associated with the rain god Tlaloc (the god with which this sculpture is associated at the Templo Mayor).LUJÁN, LEONARDO LÓPEZ, and GIACOMO CHIARI. "Color in Monumental Mexica Sculpture." RES: Anthropology and Aesthetics, no.

Although Sforzinda was never built, certain aspects of its design are described in considerable detail. The basic layout of the city is an eight point star, created by overlaying two squares so that all the corners were equidistant. This shape is then inscribed within a perfect circular moat. This shape is iconographic and probably ties to Filarete’s interest in magic and astrology.

214Eric Meyers, Galilee through the centuries, p. 232 was also tesselated, surviving only most fragmentarily. The figure, in an orans stance, flanked by lions, was scrubbed from the mosaics in line with later trends, in what Fine calls a "new aesthetic" at Khirbet Susiya, one that refurbished the designs to suppress iconographic forms thought by later generations to be objectionable.

Southern Italy benefited from the presence and cross- fertilization of the Byzantines, the Arabs, and the Normans, while the north was mostly controlled first by the Carolingians. The Normans in Sicily chose to commission Byzantine workshops to decorate their churches such as Monreale and Cefalù Cathedrals where full iconographic programmes of mosaics have survived. Important frescos and illuminated manuscripts were produced.

In her iconographic repertoire we find angels, children, magical animals, princesses, legendary monsters, inhabitants of impossible landscapes and structures that transport us to our childhood memories and joyful dreams. But we also find fighting feminists, rejected princes, caryatids tired of being so, and dying stars, conveying messages that, without affecting the gentleness of her style, can still be critical and forceful.

Bengal Patua artists carry the occupational surname of 'Chitrakar'. They are concentrated in the village of Naya in Medinipur district of West Bengal. Prominent artists include Khandu and Radha Chitrakar and their children Bapi, Samir, Prabir, Laltu, Tagar, Mamoni and Laila Chitrakar. Monimala is known for her use of bold, primal colours and the development of her own iconographic style.

This notion of Liberty is, in a sense, "the very essence of the Republic."Agulhon, 21. Liberty was officially represented by the female figure of Marianne, which adheres to traditional iconographic expectations. The Phrygian cap worn by this figure of liberty was representative of the inherent freedom of the French people and provided a sharp contrast to the crown of the monarchy.

The royal palaces of Abomey are a unique reminder of this vanished kingdom. From 1993, 50 of the 56 bas-reliefs that formerly decorated the walls of King Glèlè (now termed the 'Salle des Bijoux') have been located and replaced on the rebuilt structure. The bas-reliefs carry an iconographic program expressing the history and power of the Fon people.

The Marduk-zakir-shumi I kudurru is a boundary stone (kudurru) of Marduk- zakir-šumi I, a king in the 9th dynasty of Babylon from 855 - 819 BC. The kudurru of Marduk-zakir-shumi is a stele-like kudurru, with a front face of cuneiform, and a semi-circular top, (a register area), with the king, people, and iconographic representations of gods.

Once again in Venice, he was part of the collaborative team providing architectural enrichments for Sansovino's great projects.Vasari included his remarks on Danese within his vita of Sansovino. In Venice he sculpted the statue of Apollo over the well in the centre of the court of the Zecca. According to Giorgio Vasari, Danese composed the rich iconographic program himself:Adrienne DeAngelis, 2005.

Betrò's modern Egyptian book, Hieroglyphics: The Writings of Ancient Egypt uses the "crossroads", "intersection" hieroglyph with the name of City Plan. The oldest use of placenames is from the original cosmetic palettes of the early years of Ancient Egypt. The Narmer Palette has a bull with a broken-open Fortress (hieroglyph) enclosure.O13 The Bull Palette contains two cities identified with internal iconographic hieroglyphs.

Key dates: 400CE Medieval - A highly religious art beginning in the 5th Century in Western Europe. It was characterised by iconographic paintings illustrating scenes from the bible. Gothic - This style prevailed between the 12th century and the 16th century in Europe. Mainly an architectural movement, Gothic was characterised by its detailed ornamentation most noticeably the pointed archways and elaborate rib vaulting.

The Linga is tied to the womb in the 8th or 9th month of mother's pregnancy for the prospective child. Linga wearing ceremony to the child is thus performed before the child takes birth. Lingayath or veerashaiva jangam worship is centred on the Hindu god Shiva as the universal god in the iconographic form of Ishtalinga.Lingayat: Hindu sect, Encyclopedia Britannica (2015) Citation error.

The overall scheme combines several iconographic subjects, including the Last Judgement, Harrowing of Hell, and the Ladder of Salvation. The painting is divided in two by a cloudy band. The lower half containins demons and depictions of sin, and the upper half the judgement and the salvation of souls. In the centre is a ladder, with Christ in a nimbus at the top.

Above Christ stands a large jewel encrusted cross on a hill (Golgotha), as a sign of the triumph of Christ, amidst the Christian symbols of the Four Evangelists. These iconographic symbols (angel, lion, ox and eagle) are the oldest still existing such representations of the Evangelists.Some Recent Finds at Alahan (Koja Kalessi), Michael Gough, Anatolian Studies, Vol. 5, (1955), 121.

Shortly after his death, various representations of Qassem Soleimani appeared in many wall paintings and propaganda posters in Iran.Schwartz, Kevin and Olmo Gölz "The Mural Merry-Go-Round: The Vali Asr Billboard and Propaganda in Iran." at jadaliyya.com May 2020. Since then, his portrait has become more and more an integral part of the iconographic representation of the Islamic Republic.

The church acquired its present-day vivid colors in several stages from the 1680s to 1848. Russian attitude towards color in the 17th century changed in favor of bright colors; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations.Buseva-Davydova, p. 58 The original color scheme, missing these innovations, was far less challenging.

Saint George's Greek Orthodox Church: An Architectural and Iconographic Guide. Toronto: University of Toronto Press, 2000. p.1. This was followed by Sts. Cyril and Methody Macedono-Bulgarian Church, founded one year later in 1910, presently located on Dundas and Sackville Streets, and the Russian Orthodox Church of Christ the Saviour in 1915, of the Orthodox Church in America (OCA).

Morchella Dill. ex Pers. : Fr. was typified by Christiaan Hendrik Persoon in 1794, with Morchella esculenta designated as the type species for the genus. Among early pioneers who took an interest in the genus, were mycologists Julius Vincenz von Krombholz and Émile Boudier, who, in 1834 and 1897 respectively, published several species and varieties, accompanied by meticulously illustrated iconographic plates.

A Kiellands Forlag, Lesja 1988. Their knowledge of traditional boatbuilding is supplemented with the results of investigations carried out on archaeological material, source material in Old Norse literature, literature from the same period from foreign sources, iconographic material, etc. The goal of the project is to recreate in this manner an oceangoing warship of 50 oars taken right out of the Norse sagas.

Begley notes the evolution of the anthropomorphic iconography of Sudarshana, beginning from early expansion of the Bhagavata sect thus: > "In contrast to the relatively simple religious function of the Cakra- > Purusa, the iconographic role of the medieval Sudarsana-Purusa of South > India was exceedingly complex. The medieval Sudarsana was conceived as a > terrifying deity of destruction, for whose worship special tantric rituals > were devised. The iconographic conception of Sudarsana as an esoteric agent > of destruction constitutes a reassertion of the original militaristic > connotation of the cakra". An early scriptural reference in obtaining the 'grace of Sudarshana' through building a temple for him can be found in the Ahirbudhanya Samhita, in the story of Kushadhvaja, a king of the Janakas, who felt possessed by the devil causing him various ills, due to a sin from his past life in killing a righteous king.

With the large crucifix missing, an important iconographic dimension is lost today, i.e. the connection between Stanislas and Christ (similar to the statue of St. Francis Xavier of the same time) which would also round up the composition. The mattress, bed cover with bronze fringes and bed step are from coloured ornamental stones common to Roman baroque art but used in a highly original and effective manner.

Yamuna's iconographic depiction is seen on temple doorjambs, along with that of Ganga (the goddess of the Ganges), since the Gupta era. The Agni Purana describes Yamuna's iconography. She is depicted as black in complexion and stands on her mount, the tortoise, holding a water pot in her hand. In an ancient painting she is shown as a beautiful maiden standing on the banks of the river.

Aside from the presence of the blue bird (The Blue Bird of Happiness in Maeterlinck's play) there is no iconographic evidence relating to the painting to the play, but at the very least a connection between Maeterlinck and Symbolism, with Bergson and Cubism, has been established through Tancrede de Visan.Antliff, Mark. Bergson and Cubism: A Reassessment. Art Journal 47, no. 4 (Winter 1988): 341-349.

His one-man show in April 1900 at the Palace Hotel featured all of his 21 California Spanish mission paintings, many in elaborate iconographic frames designed by the artist himself.The Argonaut (San Francisco, CA), 2 April 1900, p.14.San Francisco Call, 8 April 1900, p.27. His campaign to save the missions was the subject of a highly laudatory article in the Washington, D.C. Herald.

Here she also created a large, encompassing report of all the sculptures at the site. Not only did she record the hieroglyphic and iconographic inscriptions, she also interpreted the work through the eyes of the authors. This showed her unique perspective as an artist rather than a formally trained archaeologist. In 1982, Merle founded the Pre-Columbian Art Institute, which publishes the PARI Journal.

Hanging from the cross is usually a flat iconographic depiction of Christ (corpus) which can be removed during the 50 days following Pascha (Easter). Traditionally, no animal products other than wool and beeswax are allowed in the sanctuary/altar. In theory, this prohibition covers leather (in the form of leather-bound service- books and shoes), but this is not always enforced today. Money is also forbidden.

There are three types of > expression in objective painting: there is the pure work, without recourse > to recollected or written history. There is the work which freely > experiences recalled imagery by coincidental interrelation of melodic lines. > Finally there is the work where an iconographic subject has been freely > undertaken.Albert Gleizes, La peinture et de l’homme devenu peintre (1948), > Paris: Somogy Editions d'Art, 1998, p. 21.

The Hierophant was also known as "The Teacher of Wisdom". In most iconographic depictions, the Hierophant is seen seated on a throne between two pillars symbolizing Law and Liberty or obedience and disobedience, according to different interpretations. He wears a triple crown, and the keys to Heaven are at his feet. Sometimes he is shown with worshippers, as his alternate title is the Pope or, sometimes, Jupiter.

In some regions, for example in Laos and Thailand, these are distinct but share related iconographic conventions. According to Jamgön Kongtrül in his commentary on the Hevajra Tantra, the ornaments of wrathful deities and witches made of human bones (Skt: ; ) are also known as mudra "seals".Kongtrul, Jamgön (author); (English translators: Guarisco, Elio; McLeod, Ingrid) (2005). The Treasury of Knowledge (shes bya kun la khyab pa’i mdzod).

Some iconographic treatises prescribe a fourth demonic head at the back, however this is generally not depicted in iconography. Another iconography prescribes that Vishvarupa be depicted with four faces: male (front, east), lion/Narasimha (south), boar/Varaha (north) and woman (back/west). He should ride his Garuda. He has twenty arms: a left and right arm outstretched in pataka-hasta and another pair in yoga-mudra pose.

The monastery also has a large collection of manuscripts. Its library houses 372 manuscripts, of which 75 are parchment, some bearing iconographic decoration. Famous among these is the renowned Minologion, coded #14, that bears 80 miniatures. The library also holds a collection of roughly 2,000 printed books, while 6,000 more are housed in another part of the monastery, on the second floor of the northern wing.

The star-war is interpreted to be the most important kind of warfare event represented in the iconographic record. It represents a major war resulting in the defeat of one site by another. This represents the installation of a new dynastic line of rulers at a site, complete dominion of one site over another, or a successful war of independence by a formerly dominated site.

Joris van Schooten as teacher of Rembrandt and Lievens in Simon van Leeuwen's Korte besgryving van het Lugdunum Batavorum nu Leyden, Leiden, 1672 Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime.Rembrandt biography , nationalgallery.org.ukErhardt, Michelle A., and Amy M. Morris. 2012. Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque.

Russian icon of the Old Testament Trinity by Andrey Rublev, between 1408-25 The Holy Trinity is an important subject of iconographic representation in Eastern Orthodox Christianity, and has a rather different treatment from depictions in the Western Churches. There are two different types of Holy Trinity icons: the Old Testament Trinity and the New Testament Trinity (Троица Ветхозаветная and Троица Новозаветная in Russian).

She is also an important deity in Jainism and found in Jain temples. Additionally, in Buddhism, she has been viewed as a Goddess of abundance and fortune, and is represented on the oldest surviving stupas and cave temples of Buddhism. In Buddhist sects of Tibet, Nepal, and Southeast Asia, Lakshmi Goddess Vasudhara mirrors the characteristics and attributes of the Hindu Goddess, with minor iconographic differences.Shaw, Miranda. 2006.

Deshret, the ancient Egyptian Red Crown, is one of the oldest Egyptian hieroglyphs. As an iconographic element, it is used on the famous palette of Pharaoh Narmer as the "Red Crown of the Delta", the Delta being Lower Egypt. The first usage of the Red Crown was in iconography as the symbol for Lower Egypt with the Nile Delta, horizontal letter 'n', Gardiner no. 35, N35.

Swami Parmeshwaranand pp. 55, 61 Though a popular iconographic form, temples dedicated to the deity are few. A popular one is located in Thiruchengode, while five others are located in Kallakkurichi taluk, all of them in the Indian state of Tamil Nadu. The Linga Purana advocates the worship of Ardhanarishvara by devotees to attain union with Shiva upon dissolution of the world and thus attain salvation.

Benzaiten represents eloquence while Myōonten epitomizes music itself. As the bodhisattva named "Miraculous Sound", Myōon Bōsatsu is described in the Lotus Sutra and was important for biwa players in court society. Her influence would spread beyond the court, integrating itself especially in the biwa hoshi tradition. After the early eighth century however, most sculptures and iconographic depictions show the pipa instead of the lute.

In the Buddhist lore, it is also a particular divine attribute of Padmasambhava and endemic to his iconographic representation and depicted as an accoutrement of his divine consorts, Mandarava and Yeshe Tsogyal. In the twilight language, it represents Yab-Yum. The weapon's three severed heads denotes moksha from the three worlds (Trailokya); it has a rainbow sash representing the Five Pure Lights of the mahābhūta.

He lived and worked in Heraklion, Crete (referred to at the time by the Venetians as Candia) during the second half of the 15th century. In 1470 there was evidence he was teaching painting to children of nobles. He died between 1504 and 1512. Like other contemporaries Cretan School painters painted pictures by following different styles and yielding various iconographic themes in the Byzantine and "italokritika" works.

Iconographic depiction of St. Nestor the Chronicler, 1919, Viktor Vasnetsov (St. Vladimir Cathedral, Kyiv). Saint Nestor the Chronicler (; 1056 – c. 1114, in Principality of Kiev, Kievan Rus') was the reputed author of the Primary Chronicle (the earliest East Slavic chronicle) Life of the Venerable Theodosius of the Kiev Caves, and Account about the Life and Martyrdom of the Blessed Passion Bearers Boris and Gleb.

At the base of the middle arch, on each side, is a lion. These sculptures of lions and griffins have great iconographic importance. The bottom and the middle part of the square bell tower, on the left side of the façade, were built in the 11th century. It was then situated behind the apse of the previous church built by bishop Ugone in 1029.

In the Roman era, the "Thracian horseman" iconography is further syncretised. The rider is now sometimes shown as approaching a tree entwined by a serpent, or as approaching a goddess. These motifs are partly of Greco-Roman and partly of possible Scythian origin. The motif of a horseman with his right arm raised advancing towards a seated female figure is related to Scythian iconographic tradition.

Iconographic resources on Gallica by Camille Saint-Saëns (1898) with a revival at the Odéon in November 1898,Le Moniteur des Théâtres, weekly. n° 39 dated 20 November 1898 (Chronique on frontpage by Henri Piquet); L'Éclair n° 745 dated 14 November 1898 quoting the laudatory words of Henri Fourquier and Alfred Bruneau in Le Figaro and M. Fourcaud in Le Gaulois. L'Éclair on line.

The confusion stems in part because the supernaturals are defined as a cluster of iconographic motifs.See Joralemon (1996), p. 54. Any given motif may appear in multiple supernaturals. For example, "flame eyebrows" are seen at times within representations of both the Olmec Dragon and the Bird Monster, and the cleft head is seen on all five supernaturals that appear on Las Limas Monument 1.

MACAA slides and photographs newsletter reborn as the International Bulletin for Photograph Documentation of the Visual Arts 1980\. Visual Resources: an international journal of documentation launched by Helene Roberts, published by Iconographic Publications 1980\. Art and Architecture Thesaurus project launched to provide subject access for art and architecture 1982-1983. Visual Resources curators from MACAA/VR, CAA, and ARLIS/NA launch Visual Resources Association (VRA) 1983\.

The iconographic search is made by one famous designer, Dominique Picquier, the sister of Philippe Picquier. Her book covers guarantee a catalog coherence, and give meaning to the editorial policy. The images are always relative at Asia, oscillating between modernity and antiquity. According to the works, book covers illustrate them of Japanese or Chinese embossements, of photos more recent putting in scene persons of Asian origin.

On a surface in front of Mary is the common iconographic symbol of the Annunciation, white lilies. On the floor is an empty basket and sheet, foreshadowing the coming child. The painting has striking chiaroscuro contrasts, with a mainly dark background behind Mary and the Archangel. The Annunciation, Hermitage Museum The date of the painting is variously reported as 1616Grove Art entry dating painting to circa 1616.

Due to this there are mainly two styles of snuff trays. One being the Tiwanaku (Tiahuanaco) style which scientists refer to as the Southern Andean Iconographic style or SAIS. The Tiwanaku (SAIS) style is characterized by a trapezoidal shape, incurving sides and sharp top corners. There are very few snuff trays that represent the Tiwanaku (SAIS) style which makes up about 10% of the collection.

Zeus' symbols are the thunderbolt, eagle, bull, and oak. In addition to his Indo-European inheritance, the classical "cloud-gatherer" (Greek: , Nephelēgereta). also derives certain iconographic traits from the cultures of the ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses: standing, striding forward with a thunderbolt leveled in his raised right hand, or seated in majesty.

The music video for the song starts off with a still photograph of all four members of The Black Eyed Peas. The members start moving as the music picks up pace and then dance a little. The 'photograph' establishes that the video is set in Brazil by showing Rio de Janeiro. Later in the video other iconographic locations are shown, such as the rainforest and the slums.

Pintings from the 1980s, View at "Moshe Gershuni. No Father No Mother" (2014) exhibition at the Neue Nationalgalerie, Berlin, Germany In 1982-1983 Gershuni began a series of paintings that included images of the flower cyclamen. The cyclamen, according to Gershuni, represents a national motif and often appears in Hebrew poems for children. Another iconographic source is Haim Gouri's song "Bab al-Wad" (1948).

Greece and the Hellenistic World (Oxford History of the Classical World, vol. I), 1988, illus. p. 284.A cogent summary of technical and iconographic arguments for Zeus was presented by George E. Mylonas, "The Bronze Statue from Artemision", American Journal of Archaeology 48.2 (April 1944), pp. 143-160. the thunder-god and king of gods, though it has also been suggested it might represent Poseidon.

Pausanias, Guide to Greece, 4.32.1 His iconographic attributes are the lion skin and the club. These qualities did not prevent him from being regarded as a playful figure who used games to relax from his labors and played a great deal with children.Aelian, Varia Historia, 12.15 By conquering dangerous archaic forces he is said to have "made the world safe for mankind" and to be its benefactor.

The entire church resembles an artistic work of art. The stone used to construct the church was brought from Sarmusak, a quarry in Turkey, located near the entrance to the bay of Ayvalik. The interior church design is stamped with crosses and iconographic areas which were created by the local artist P Polichroni of the previous century. The church has all the documentation which verifies the building from its inception.

Following the iconographic canons, the image bears the face of a boar and body of a divine woman. Her right hand holds a fish while the left hand holds a kapala. She has kept her right foot on her vahana (vehicle) buffalo which is seated on the pedestal at the bottom. Varahi is represented with a third eye on her forehead which is not clearly visible at present.

One of the most striking features of the main altarpiece is its double function as a double-faced retable-baldachin, one towards the nave and another towards the choir of the monastic community. It is organized by two bodies with profuse decoration in gold leaf, with salomonic columns, scrolls, pearls, acanthus leaves, small vegetal decoration ... and its iconographic discourse is articulated around the Assumption and Coronation of the Virgin.

It may have marked the year when Chandragupta II assumed the title of Vikramaditya. The Stietencron proposal does not explain the presence of a bowing figure in front of the Vishnu Varaha. The royally dressed man has been broadly interpreted as king Chandragupta II acknowledging dharma and duty symbolized by Vishnu Varaha as above the king.Debala Mitra (1963), Varāha Cave at Udayagiri – An Iconographic Study, Journal of the Asiatic Society, Vol.

However, there is no ethno historic evidence specifically concerning mythical or ritual aspects of Pampa Grande society. However, at some point, most of the traditional Moche "iconographic elements ceased to be depicted". The realistic animal and human imagery, commonly found on utilitarian ceramic ware, was replaced with geometrical patterns. These new designs are suggested to be abbreviated versions of the earlier detailed images and motifs in Moche traditional art.

Ik Onkar, iconically represented as in the Sri Guru Granth Sahib (although sometimes spelt out in full as ) is the iconographic statement in Sikhism that is 'there is one God'. The phrase is an expression of monotheistic unity of God. Some Hindu brahmins think Onkar in () Sikhism is related to Om () of Hinduism but that is not the case. Most Sikhs disagree that Ik Onkar is same as Om.

Michael Rohrmayer, Marianisches Wallfahrtsbuch, 1844, p. 45. The Virgin of the Rosary is frequently shown with the crown or halo of twelve stars (but not the crescent moon) in modern depictions (since the 19th centurythere are examples of Baroque-era predecessors of this iconographic tradition, e.g. Diego Velazquez, Immaculata conceptio (1618), Carlo Dolci, Madonna in Glory (1670).). A notable example is the Virgin of the Rosary of Pompei.

Molinari and Sisci, pp. 48-68. The leading exponents into the Greek and Etruscan worlds were seer-healers and mercenaries during the Iron Age, and Achelous as a man- faced bull becomes an emblem employed by mercenaries in the Greek world for centuries.Molinari and Sisci, pp. 22-30. These earlier figures probably adapted the mythological and iconographic traditions of Asallúhi (also Asarlúhi or Asaruludu),Molinari and Sisci, p. 14.

Some gods are prescribed to be shown cleaning Kankalamurti's path, others singing his praises or showering him with flowers. The corpse of Vishvaksena is sometimes added in the scene, as in the temples of Suchindram, Thirumarugal and Nageswaraswamy Temple. An iconographic description according to a hymn says that Kankalamurti is blood red smeared over his body and has three eyes. His head is adorned with the crescent moon.

They are carved with the same arms.Ivory triptych by Medieval, ArtFund, retrieved 7 December 2013. The Grandisson ivories in the Louvre and British Museum demonstrate iconographic features that suggest Italian influence and the style of paintings from the province of Siena in Tuscany. Prior to John Webb buying it on behalf of the British Museum in 1861, the triptych was in the possession of the Russian Prince Aleksey Saltykov.

The myth represented has been the subject of various interpretations throughout history. It has been proposed that this figure is related to the Roman myth of the victory of Venus over Mars, an allegory of the triumph of love over war. This iconography is reflected in testimonies of the same period, both literary (the Argonautica, by Apollonius of Rhodes) and pictorial. There are numerous iconographic representations present in Pompeian paintings.

Sculpture of the dikpala Yama. In art, some Sanskrit sources say that he should be of dark color, resembling the rain-cloud, with two arms, fire-colored eyes and sharp side-tusks. He is depicted with red or black clothes, and seated either on a throne or a he-buffalo. A different iconographic form described in the Viṣṇudharmottara depicts him with four arms and wearing golden yellow garments.

Iconographic sketch of Saint Alipy by Viktor Vasnetsov (Tretyakov Gallery, Moscow). Alipy of the Caves (? - 1114) - (also known as 'Venerable Alypius') Eastern Orthodox saint, monk and famous painter of icons from the cave monastery of Kiev Pechersk Lavra. Saint Alipy was a disciple of Greek icon painters from Constantinople"Житие преподобного отца нашего Алипия иконописца", Kiev Pechersk Lavra, August 2008 and considered to be the first icon painter of Kievan Rus.

The Achi monastery is a single- nave hall church, built of hewn stone. Constructed at the end of the 13th century or in the early 14th, it was later reroofed, renovated and surrounded by a defensive wall. The whole interior is frescoed. Some murals, stylistically dated to the late 13th century and betraying affinities with the Palaeologan art, are iconographic rarities, such as those depicting the life of Saint George.

Zellweger is probably best known for his creation of a simpler and more mentally intuitive system of logic notation called the Logic Alphabet.X-stem Logic Alphabet The Logic Alphabet, also known as the X-stem Logic Alphabet (XLA), is a notation system that contains a unique and visually iconographic approach to learning and performing logic operations. Patents have been issued on its design in the United States, Canada and Japan.

The JAMs later revisited the word "shag" when they named their early career retrospective compilation album Shag Times. Drummond and Cauty's output as The JAMs and later The KLF extensively referenced The Illuminatus! Trilogy, and their debut recordings were no exception. The lyrical references in "All You Need Is Love" are complemented by the first of many iconographic and numerical allusions that soon came to characterise the duo's work.

It is one of the few churches that is modernly designed and lacks iconographic religious references. Architectural critic I.V. Mallari in his 1957 article in the Sunday Times Magazine entitled “The Ugly City” identified and lambasted specimens of modern architecture in Manila as miniaturized facsimiles of modern architecture abroad. His enumeration included Concio's chapel in Diliman which he claimed to have been drawn from a chapel in Wichita, Kansas.

Schele & Mathews 1998, pp. 111-112. The central image is that of a cruciform world tree. Beneath Pakal is one of the heads of a celestial two-headed serpent viewed frontally. Both the king and the serpent head on which he seems to rest are framed by the open jaws of a funerary serpent, a common iconographic device for signalling entrance into, or residence in, the realm(s) of the dead.

In the 1980s Bickerton made a series of works which resembled packing cases and crates, covered with corporate logos.Irit Rogoff, Terra Infirma: Geography's Visual Culture, Routledge, 2000, p. 60, His early work is noted for its display of corporate logos and constructions titled as either "Self-Portraits," "Commercial pieces," or "Anthropospheres." They are typically Assemblages of technological or industrial materials with the inclusion of found elements and screen printed iconographic images.

Sanxing (Three Star Gods) represented in Bai iconographic style at a Benzhu temple on Jinsuo Island, in Dali, Yunnan. Benzhuism ( Běnzhǔjiào, "religion of the patrons") is the indigenous religion of the Bai people, an ethnic group of Yunnan. It consists in the worship of the ngel zex, Bai word for "patrons" or "source lords", rendered as benzhu () in Chinese. They are local gods and deified ancestors of the Bai nation.

145 Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.).

The image stands to the front and right side of the Emerald Buddha, looking from the entrance (to the pedestal's north). The standing Buddha has both of his palms turned outwards in the hand gesture called Abhayamudra, or the gesture of fearlessness. This iconographic attitude is called the "calming of the waters". This attitude commemorates one of the Buddha's miracles when he stopped a flood from reaching his dwelling.

176 Although Gingee had been a fortified centre as early as 1240 CE, it was during the rule of Krishnappa that the present layout of the Garh Mahal (fort) was established.Fredrick W. Bunce (2006) Royal palaces, residences, and pavilions of India: 13th through 18th centuries: an iconographic consideration. D.K. Printworld. . p. 74. Krishnappa is said to be the first Nayaka who converted a fort into an outstanding example of military architecture.

A Burmese portrayal of Chandi (Sandi Dewi). The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are given. The Goddess is described as having vermilion complexion, eighteen arms bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral and is seated on a lotus.Sankaranarayanan.

Conceived as a colossal athletic male nude set up on a tall column, the monument symbolically represents the iconic figure of victory. In iconographic terms, the personification of the triumph of a victorious nation can be traced back to classical antiquity and its mythic hero Hercules. Then the First World War broke out. The Austrian ultimatum forced Meštrović to leave Belgrade and almost all finishing works had to be ceased.

During the 1670s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altieri; the iconographic programme for The Triumph of Clemency was devised by Bellori. Unlike Giovan Battista Gaulli’s nave fresco in the nearby church of the Gesu which was being painted at the same time, Maratta did not employ illusionism; his scene remained within its frame and used few figures.

This painting illustrates the iconographic and formal revolution that Caravaggio instigated in the late 16th and early 17th centuries. Distancing himself from the precious, affected mannerist vogue, the artist inaugurated a frank, robust, energetic style. He took on the task of translating people's reality and emotions without worrying about the conventions of representations of the sacred. His impact on the evolution of pictorial conceptions in the 17th century was considerable.

Palazzo Bentivoglio offers guided tours of its rooms and painting cycles. Inside Palazzo Bentivoglio we can find the Antonio Ligabue Museum Foundation, as wells as Umberto Tirelli Donations. In the former, the Naive painter’s life is reconstructed with bibliographical and iconographic materials. His art, which lies between primitivism and expressionism, is not structured on a cultural basis, but on the farmer’s genius and on a strong psychoanalytical element.

Each portrait features one of the Evangelists with a stylus and a book. This is symbolic of the power of God and gives the religious message a scholarly context. Through this presentation, the miniatures present the elevated value of learning which Charlemagne wished to convey through his campaign to reform education. Furthermore, all four Evangelists are looking up, away from their books. This is an “iconographic motif” indicating inspiration.

The ancient Egyptian Papyrus stem hieroglyph is one of the oldest language hieroglyphs from Ancient Egypt. The papyrus stalk, (or stem) was incorporated into designs of columns on buildings, also facades, and is also in the iconographic art portrayed in ancient Egyptian decorated scenes. The papyrus stem hieroglyph shows a single stalk and umbel of the plant. It is used for the color 'green', and for vigour, or youth-(growing things).

Izaak J. de Hulster, "Iconographic Exegesis and Third Isaiah", pp.135-6 Nevertheless, Persian-era Jerusalem was tiny: about 1,500 inhabitants, even as low as 500 according to some estimates.Oded Lipschits, "Persian Period Finds from Jerusalem: Facts and Interpretation", Journal of Hebrew Scriptures (vol.9, art.20, 2009) It was the only true urban site in Yehud, the bulk of the province's population lived in small unwalled villages.

Grotesque engraving on paper, about 1500 - 1512, by Nicoletto da Modena. The delight of Mannerist artists and their patrons in arcane iconographic programs available only to the erudite could be embodied in schemes of grottesche,An example, the vaulted arcade in the Palazzo del Governatore, Assisi, which was frescoed with grotesques in 1556, has been examined in the monograph by Ezio Genovesi, Le grottesche della 'Volta Pinta' in Assisi (Assisi, 1995): Genovesi explores the role of the local Accademia del Monte. Andrea Alciato's Emblemata (1522) offered ready-made iconographic shorthand for vignettes. More familiar material for grotesques could be drawn from Ovid's Metamorphoses.Victor Kommerell, Metamorphosed Margins: The Case for a Visual Rhetoric of the Renaissance 'Grottesche' under the Influence of Ovid's Metamorphoses (Hildesheim, 2008).. The Vatican loggias, a loggia corridor space in the Apostolic Palace open to the elements on one side, were decorated around 1519 by Raphaels's large team of artists, with Giovanni da Udine the main hand involved.

According to Pisani,Giuliano Pisani, I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni (Rizzoli, 2008) Giotto painted the chapel's inner surface following a comprehensive iconographic and decorative project devised by the Augustinian theologian, Friar Alberto da Padova. Among the sources utilized by Giotto following Friar Alberto's advice are the Apocryphal Gospels of Pseudo-Matthew and Nicodemus, the Golden Legend (Legenda aurea) by Jacopo da Varazze (Jacobus a Varagine) and, for a few minute iconographic details, Pseudo-Bonaventure's Meditations on the Life of Jesus Christ, as well as a number of Augustinian texts, such as De doctrina Christiana, De libero arbitrio, De Genesi contra Manicheos, De quantitate animae, and other texts from the Medieval Christian tradition, among which is the Phisiologus.Giuliano Pisani, La concezione agostiniana del programma teologico della Cappella degli Scrovegni, in Alberto da Padova e la cultura degli agostiniani, a cura di F. Bottin, Padova University Press 2014, pp.

After the capture of Jerusalem in the First Crusade (1099), the Dome of the Rock was given into the care of Augustinian Canons Regular, who turned it into a Christian church. The adjacent Al-Aqsa Mosque was called Templum Solomonis ("Temple of Solomon") by the Crusaders. It first became a royal palace. The image of the Dome, as representing the "Temple of Solomon", became an important iconographic element in the Kingdom of Jerusalem.

97 Geffels also painted some paintings of the humbler classes of society, which recalls the paintings of the Bamboccianti. An example is the Antique ruins with a Roma family (Museum of Fine Arts (Budapest), 1660s). It shows some figures who may be Romani people possibly preparing a meal and a shepherd with a herd inside a tunnel-like grotto with Antique architectural elements. The iconographic interpretation of the work is not entirely clear.

In contrast, phytomorphic motifs doesn't appear clearly. The iconographic inventory of the volcano Orosí seems to originate from a local convention of stone processing which is embedded into the traditions of the Greater Nicoya region. Additionally, the iconography of the Pedregal site also imitates Mesoamerican and South American patterns. They witness a broad variety of transcultural interrelationships maintained by the indigenous societies of Costa Rica before the arrival of European conquerors. Fig.

The Virgin Mary from the ceiling of St Michael's, Hildesheim The large flat wooden ceiling in the Church of St Michael, Hildesheim of c. 1200 has the space to include a complex iconographic scheme based around the tree, which encompasses Adam and Eve, the Prophets and the Four Evangelists. Panel paintings are rare, but a German example of c. 1470 (Darmstadt) shows a Tree on the outside of the wings of a triptych.

The next three rows show scenes from the youth, life, and Passion of Christ. The bottom row contains scenes from the crucifixion of St. Andreas. On the western wall the rows are tied together with an image of the Last Judgment. The paintings were done in a limited range of colors including ochre, red, and brown and help in the "comprehension of the evolution of certain Christian iconographic themes, like that of the last judgment".

The indigenous groups that inhabit the region are the Kollas and Lupacas in present Peruvian territory and Omasuyos and pacajes on Bolivian. All were subject to the Mita de Potosí and periodically migrated to the valleys and coastal lowlands. The Baroque of Arequipa and Potosí is a conjunction in this region with a strong Pre- Columbian flavor. The Puno Cathedral picks iconographic elements as mermaids, pumas, papayas and a monkey and even the charango.

Besides the collection of about 19,000 titles, it comprises more than 12,000 audiovisual items, iconographic and textual documents, rare books, newspapers, magazines, catalogues, and other materials related to the institution's history, from the Imperial Academy to nowadays. In addition to permanent and temporary exhibitions, the museum organises educational activities for the general public and art education programs for teachers, with the aim of diffusing and granting a better understanding of the Brazilian cultural heritage.

The presence of the birds has led to the iconographic identification of the human figure as the god Odin, flanked by Huginn and Muninn. Like Snorri's Prose Edda description of the ravens, a bird is sometimes depicted at the ear of the human, or at the ear of the horse. Bracteates have been found in Denmark, Sweden, Norway and, in smaller numbers, England and areas south of Denmark.Simek (2007:43 and 164).

Although the oldest iconographic evidence concerning lutes deals with long lutes in Mesopotamia and Egypt, some long-necked lutes are shorter than others. Comparatively, the Greek and Byzantine pandura is shorter than the tanbur, even though both are long lutes. Shorter lutes exist among the long-necked lutes today, including the tanburica, cura and komuz. A short necked lute does not necessarily a small lute, as a pipa can be a large instrument.

She is perfect. She is virginal – it is Joseph's task to stand aside and let us desire her, religiously. It takes a particularly old, a particularly grey, a particularly kindly and a particularly feeble man to do that. ...Banished in vast numbers to the backgrounds of all those gloomy stables in all those ersatz Bethlehems, his complex iconographic task is to stand aside and let his wife be worshipped by the rest of us.

See Parra, Azulejos, no. 1. (pp. 26-27) and Alexandre Pais, O espólio azulejar nos palácios e conventos da Misericórdia de Lisboa, in Património Arquitectórico, 1: 139-142. The glazed tiles of the chapel show the beginnings of a new decorative period in Portuguese religious and civil buildings when the importance of interior decoration with glazed tiles was increasing. They combine stylized naturalistic images with geometric patterns and iconographic elements related to St. Roch.

Viewers often note the abstract nature of icons. This abstraction is usually an attempt to represent the otherness of the transfigured universe. The angles drawn in the background of iconographic scenes illustrate how perspective and proportions are changed for the sake of spiritual emphasis. Frequently, elements of the background such as furniture, mountains, or the contours of secondary figures, are drawn in such a way as to point to the central character of the icon.

A miniature from Hval's Codex Hval's Codex, written in 1404 in Bosnian Cyrillic, is one of the most famous manuscripts belonging to the Bosnian Church in which there are some iconographic elements which are not in concordance with the supposed theological doctrine of Christians (Annunciation, Crucifixion and Ascension). All the important Bosnian Church books (Nikoljsko evandjelje, Sreckovicevo evandelje, the Manuscript of Hval, the Manuscript of Krstyanin Radosav) are based on Glagolitic Church books.

The Iconographic collections contain around 117,000 images on paper and have constituted a specialised section of the Library since 1976. They were originally formed from three initial collections that belonged to the Rare Books and Manuscripts Division (Prints, Drawings, and Religious Pictures), but were organised into a separate collection when the Library became fully aware of their importance to the study of history, sociology, art and so on, and came to recognise their heritage value.

Ananda temple is a perfectly dimensioned stylistic structure, a fusion of Mon and Indian architectural styles and is the central monument built in the Pagan valley. It has been built with bricks and plaster depicting iconographic images in stones and plaques (terra-cotta glazed tiles) with the main purpose of educating the people of the region in the religious ethos of Theravada Buddhism and in accordance with the personal beliefs of the King Kyansittha.

It was located in a square called Plaza de Europa (). In 1695, a confraternity devoted to Our Lady of Europe () was also created there where it participated in public devotions. About 1715 a statue was carved, possibly by Benito Hita del Castillo, and a new chapel-niche with the altarpiece was built. From an iconographic point of view, the statue resembled a piece of medieval art, as Our Lady is seated and wearing a crown.

The new, larger monument, sculpted by Nathan Rapoport (who worked under the supervision of Suzin), was unveiled on April 19, 1948. The monument stands tall. As Rapoport himself explained, the "wall" of the monument was designed to evoke not just the Ghetto walls, but also the Western Wall (Kotel) in Jerusalem. The great stones would thus have "framed the memory of events in Warsaw in the iconographic figure of Judaism's holiest site".

Sarmiento was not only interested in linguistics, he was interested in other disciplines such as botany and medicine. He had a big knowledge of the names of the plants and their health properties. He was quite concerned about the improvement of the technical and economic level of his country, specially in the Enlightenment ideas. His erudition in many disciplines made him be commissioned the iconographic program that would decorate the Royal Palace of Madrid.

The architectural style of the cathedral is representative of the layout of Orthodox centres of worship throughout the world. Incorporating the centralised domed cupola above the nave (to demonstrate the sky), the cathedral reflects the influence of the architectural legacy of the Byzantine style. The interior of the cathedral, much like other Greek Orthodox places of worship, also contains rich iconographic depictions on its walls and a detailed iconostasis separating the nave and sanctuary.

Iconographic material suggesting other deities are less common that those connected to Thor. Some pictorial evidence, most notably that of the picture stones, intersect with the mythologies recorded in later texts. These picture stones, produced in mainland Scandinavia during the Viking Age, are the earliest known visual depictions of Norse mythological scenes. It is nevertheless unclear what function these picture-stones had or what they meant to the communities who produced them.

Clancy argues that this headdress is a representation of "the royal theme of quest", due to its iconographic similarity to other stelae at Piedras Negras.Clancy (2009), p. 144. Not much remains of the king's final monument, Stela 18, which was raised in AD 775. The stela is heavily eroded, but archaeologist Sylvanus Morley claimed that it expressed a Calendar Round date of 6 Ahaw 13 Kʼayab (corresponding to a Long Count date of 9.17.5.0.

In addition, the iconographic details of each figure based on biography renders an extent of individualization. For instance, the biography of Liu Ling in the Book of Jin records his obsession with alcohol. In the relief paining, the figure of Liu Ling sits in a casual posture with a curving knee and holds an erbei, a vessel for alcohol, while dipping the other hand into the cup to have a taste of the drink.

Craig S. Harbison (April 19, 1944 – May 17, 2018)Obituary: Craig Harbison, Professor Emeritus of Art History was an American art historian specialising in 15th and 16th-century Flemish and Northern Renaissance painting. He was Professor Emeritus of Art History at the University of Massachusetts Amherst. While attending Princeton University in the early 1970s, he studied iconographic analysis under Erwin Panofsky and Wolfgang Stechow. He had previously studied at Oberlin College, Ohio.

These and other designs and architectural elements are more than merely decorative, suggesting "strong ideological significance", although there is no consensus just what that significance is. Some interpret the pyramid's iconography as cosmological in scope – a myth of the origin of time or of creation – or as calendrical in nature. Others find symbols of rulership, or war and the military.A summary of the possible iconographic interpretation can be found in Spence et al.

Stradanus produced large altarpieces for the most important Florentine churches. His monumental religious panels still hang in the Santa Croce, Santissima Annunziata, Santa Maria Novelia and Santo Spirito. Stradanus' talent as a fresco painter is visible in the murals he created in the Palazzo Vecchio. This ducal palace, which was designed under the direction of Giorgio Vasari, was given a complete decoration with frescoes according to an extensive and complex iconographic program developed by Vasari.

Out of the many sculptures in the Jaina compound, more than 400 carvings were worthy of recording for their "stylistic and iconographic variety". The extravagance of the intricacies of the Jain sculptures are similar to that of nearby Gwalior in Madhya Pradesh and adjoining areas of Bihar. Jain sculptures lie scattered on both sides of the path from the gate, on the walls of the fort. A notable pillar seen here is called the Manastambha.

Brahmadesam Kailasanathar Temple is very big, ancient and rich in sculptural wealth. There are five siva lingas with separate Sanctum sanctorum in the temple namely # Sri. Kailasanathar # Sri Badari Vaneswarar # Sri Viswanathar with Sri Visalakshi # Sri Arunachaleswarar with Unnamalai # Sri Sundareswarar with Sri Meenakshi. # Sri Nadikeswara # Sri Nataraja (Punuku Sabhapathi) # Sri Athma Vyakya dhakshinamoorthy with chin mudra facing His ownself and Jwarahara Deva are certain examples of the iconographic treasures of the temple.

The outer narthex is in a very bad condition, meaning just the lower parts of the walls remain. This component was added later, as the church was probably part of an expanding monastery, which faced the problem of lack of space. But there has already existed an inner narthex, separated by two columns with lower arcs than the rest in the monument and by a different iconographic program.M. Georges Bošković: Deux Églises de Milutin.

Focal point for pomp, a sumptuous fireplace displays a classical vocabulary, and thus demonstrates the humanist knowledge of Béringuier Maynier. At the center of the frieze, two kneeling putti present the owner's arms in a floral wreath (called 'triumphal garland'). Medallions framed with triumphal garlands or supported by hybrid beings, chubby cherubs playing with an imposing garland of fruits and vegetables on the pediment: the iconographic work constitutes a panegyric of fortune, abundance and fertility.

Archaeological evidence, including a temple, coins, and bullae, suggests that several deities were particularly worshipped at Abila, mainly Herakles, possibly in a syncretic form as Herakles-Malqart, combined with iconographic aspects of Dionysus; as well as Tyche and Athena.Achim Lichtenberger, The Decapolis and Phoenicia, ARAM Periodical 23 (January 2011), pp. 559-583, DOI: 10.2143/ARAM.23.0.2959673, retrieved 19 December 2019 Rock- cut tombs from the 2nd-3rd centuries discovered nearby partly display elaborate mural paintings.

The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873. In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren.

26, The Smithsonian Institution and Department of the History of Art, pp. 65-80 is the earliest known Panchyatana temple in North India. The fort on the hill is dominated by a cluster of Jain temples on its eastern part, the oldest of these dating to the 8th or 9th century. Apart from Jain temples, the wall frescoes of Jain images of "iconographic and the stylistic variety", are special features of the fort.

Front view of the Uttoxeter casket The Uttoxeter Casket, also known as Philip Nelson's Casket, is an Anglo Saxon reliquary from Uttoxeter, Staffordshire in the United Kingdom. As of 2017, it is held at the Cleveland Museum of Art in Ohio, USA. House-shaped and carved from a single piece of boxwood, it remains the only known surviving wood carving with such an elaborate iconographic programme from this period of British history.

The influence of Kalkar and Bruges are seen in many of Joos van Cleve's early works, such as Adam and Eve (1507). The Death of the Virgin (1520) shows the combined influence of several artists. It has the intense emotionality of Hugo van der Goes, and iconographic ideas of Jan van Eyck and Robert Campin. A strong influence of Italian art combined with Joos van Cleve's own color and light sensitivity make his works especially unique.

Dhakshinamoorthy ()For iconographic description of the form, see: Sivaramamurti (1976), p. 47. is an aspect of the Hindu god Shiva as a guru (teacher) of all types of knowledge. This aspect of Lord Paramasiva Convected to Paramaguru is his personification as the supreme or the ultimate awareness, understanding and knowledge.Dictionary of Hindu Lore and Legend () by Anna Dallapiccola This form represents Shiva as a teacher of yoga, music, and wisdom, and giving exposition on the shastras.

Dumbarton Oaks, Washington D.C. The Jester God is an early symbol of Maya rulership and is usually seen iconographically in the head, or in this case the jade head. With so many artifacts associated with this tomb, it is clear that the male buried in here was of great importance.Fields, Virginia M. 1991 The Iconographic Heritage of the Maya Jester God. In Sixth Palenque Round Table, 1986, edited by Merle Greene Robertson and Virginia M. Fields.

In Maharashtra the stone cut Sharabha idol is placed on the outer walls of the entrance gate of many historic forts. Sharabha idol on Kothaligad fort. In iconographic representations of the myth of Shiva vis-à-vis Vishnu, Sharabha form has been built around Narasimha but substantially embellished with wings to represent Kali and Durga to denote the female powers (shaktis) of Shiva; Sharabha is also shown with a bird head and a serpent in his beak head.

In iconographic representations the deity is shown as a young child, resting on a banyan tree leaf known as Vatapatram, floating on water. Madavar Vilagam Vaidyanathar temple, enshrining a six feet high monolithic image of Nataraja, is another prominent temple in the town. Thiruvannamalai, also known as Thenthirupathi, is a temple dedicated to Vishnu and is located away from Srivilliputhur, surrounded by western Ghats. Kattalagar Koil is another Vishnu temple located , west of Srivilliputhur over the Mantuga Hills.

Hill, Alan G;Wordsworth, Boccaccio, and the pagan gods of Antiquity;pp 32-5;Review of English Studies.1994; XLV: 26-41 Boccaccio was responsible for spreading the story, which he credited to Theodontius, that Demogorgon was the ancestor of all the heathen gods — based on a misspelled scholion to Statius, which had intended to claim ancestry for Plato's Demiurge. This gave rise to a literary and iconographic tradition lasting to John Milton and Shelley.Bull, op cit p.

Xipe Totec, carrying a bloody tecpatl. (Codex Borgia) Tecpatl, is one of the most complex iconographic symbols of Aztec mythology. This knife expresses multiple meanings that carry a complex view of the world which are closely associated with the notions of origin and human sacrifice. The Tecpatl (Flint) was born in the height of heaven shaped as a knife, and was thrown down by his brother, and it was destined to descend from heaven to earth.

Holy icon of the Theotokos of Pochaiv, set in the golden diadem presented by Pope Clement XIV. Theotokos of Pochayiv () is an Eastern Orthodox icon of the Virgin Mary, painted in a late Byzantine style, of the Eleusa iconographic type. Like many famous icons, it is now usually displayed with most of the surface covered by an elaborate frame in precious metals, or riza, except for the faces. The icon is venerated equally by Orthodox and Catholics.

The September 11 attacks gained an iconographic meaning. This was due to the fact that the Twin Towers of the World Trade Center in New York City were portrayed as symbolic buildings representing American financial power, and the Pentagon in Arlington County, Virginia was portrayed as a symbolic building representing American military power. Backed up by the media and literature, many people see 9/11 as an attack on the economic and military power of America.Hartwig, Marcel.

Many mosaics were uncovered in the 1930s by a team from the Byzantine Institute of America led by Thomas Whittemore. The team chose to let a number of simple cross images remain covered by plaster but uncovered all major mosaics found. Because of its long history as both a church and a mosque, a particular challenge arises in the restoration process. Christian iconographic mosaics can be uncovered, but often at the expense of important and historic Islamic art.

If the figure were complete it would be larger than life-size. The two principal characters of the Cacahuaziziqui cave can be associated to the Olmec group because they share many of the same categories of formal and iconographic imagery with Juxtlhuaca. Painting 1, dominated by the color white, and Painting 2, with a yellow body and white face, indicated that these characters might be representative of deities. The Olmecs were clever in the creation of their paintings.

After the war the picture was discovered and secured by the Monuments Men. Its salvage was documented in several photographs which show soldiers from the U.S. Army posing with Manet’s painting in the mine in Merkers. These photographs have gained iconographic status over the years and are often falsely used as an illustration of Nazi looted art in prestigious publications like the Deutsche Welle, The Washington Post, The New York Times and even in academic papers.

These catacombs served as a connector for various Christian communities through the underlying concepts of socio-economic status shown within the art. Additionally, the art showed a story of how Christians in the first couple of centuries viewed the world and their idealistic view of how it should be. An earlier catacomb wall art, depicting Adam and Eve from the Old Testament. Christian art in the catacombs is split into three categories: iconographic, stylistic, and technical.

This scene consists only two figures: Saul and his horse, and the horse strangely dominates the painting.Friedlaender: Caravaggio Studies, pp. 26-27 Moretto was probably inspired by a similar Conversion attributed to Parmigianino (1527). Although some details and motifs may have been borrowed or inspired by these artworks, it is important to note that the pared-down composition and the intense spiritual drama of the Cerasi Conversion was a novelty without any direct iconographic precedent at the time.

Schwebel, a German military engineer, was hired by the Portuguese Crown to be part of the Commission of border demarcations in the northern region, according to the Treaty of Madrid (1750). The Portuguese commission stayed for five years conducting surveying and hydrographic services in this region. This view, together with the others in this group, constitute an iconographic collection of the region between Belém and Barcelos during the colonial period. Collection of the Biblioteca Nacional do Brasil.

The Virgin and St Joseph are in their normal iconographic dress, and behind St Joseph a queue of respectable citizens wait their turn to register. Male hem lengths drop as the status of the person increases. All the exposed legs have hose, and the soldiers and citizens have foot-wrappings above, presumably with sandals. The citizens wear dalmatics with a wide border around the neck and hem, but not as rich as that of the middle-level official.

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right.

42 Other depictions show him as the Destroyer of Obstacles, sometimes dancing.Nagar, pp. 185-186. This play of Ganesha as both the "creator and remover of obstacles" as per his epithet as well in the two Vajrayana iconographic depictions of him as that which consumes (Maha Rakta) and that which is consumed (danced upon by Vignantaka) is key to the reciprocity rites of the charnel ground. Ganapati, Maha Rakta (Tibetan: tsog gi dag po, mar chen.

This already exposes the primary weakness. Dot, vee, horseshoe do not carry any information that identifies, specifies, and encodes the truth tables they represent, namely, TFFF, TTTF, and TFTT. In marked contrast, XLA is an intentionally engineered set of sixteen iconographic letter shape symbols specifically designed to improve the efficiency of learning and performing logical operations. Serving as a system of highly abbreviated mini truth tables, Zellweger’s claim is that XLA is not only much easier to learn.

In Rigveda, Indra is described as strong willed, armed with a thunderbolt, riding a chariot: Indra's weapon, which he used to kill evil Vritra, is the Vajra or thunderbolt. Other alternate iconographic symbolism for him includes a bow (sometimes as a colorful rainbow), a sword, a net, a noose, a hook, or a conch. The thunderbolt of Indra is called Bhaudhara. In the post-Vedic period, he rides a large, four-tusked white elephant called Airavata.

The iconographic introduction of Los Santos early in the game, for example, inspired him to "create a smooth West Coast vibe that embodied" the city. He supplied horns, electric and bass guitars, and percussion parts to fit with the car chase scenes. "We wanted everything to set the right tone", he explained. The Rockstar team wanted to synergise the game world's depiction of California with the radio stations by licensing tracks that imparted an appropriate "Cali feel".

The slave collar is seen in contemporary paintings. Chains, fetters, manacles, slave collars are the familiar iconographic markers of slavery with the broken chain being particularly useful for dis-enslavement. Slaves were chattel and so it is no surprise to see that they were on occasion branded like cattle in life and in art. Another sign of slavery, less obvious and much less gruesome, was the cropped pony tail or topknot which marked an enslaved Turk in the galleys.

The Min Palette is a flat slate palette, unadorned, with no iconographic scenes. Two topics are displayed on the palette. The Symbol of Min, a compound-type hieroglyph arrangement, is centered at the top of the palette, and comprises 1/4 of the palette's front. The other motifs are opposed-facing bird heads on each top corner; the heads are small, with a thin neck, about a tenth the height of the palette, and the right head is damaged.

HAL is a common archive that is available in several environments: institutional (Hal-INRIA or Hal-INSERM), thematic (Hal-SHS for the humanities and social sciences, for example), and typological (theses, images). The CCSD is involved in the Bibliothèque Scientifique Numérique (BSN or Digital Science Library), especially in the working group BSN4 (open archives). CCSD also develops MédiHAL, open repository for scientific images and iconographic documents of science and SciencesConf.org, management tool for monitoring scientific events.

Catherine Becker (2010), Not Your Average Boar: The Colossal Varaha at Eran, An Iconographic Innovation, Artibus Asiae, Vol. 70, No. 1, "To My Mind": Studies in South Asian Art History in Honor of Joanna Gottfried Williams. Part II (2010), pp. 123–149 Other early sculptures exist in the cave temples in Badami in Karnataka (6th century) and Varaha Cave Temple in Mahabalipuram (7th century); both in South India and Ellora Caves (7th century) in Western India.

I, 1916. André Thevet illustratedThevet, ch. 31; notes that it had been illustrated by in "the first critical collection of ancient portraiture" . in his iconographic compendium, Les vraies Pourtrats et vies des Hommes Illustres (Paris, 1584), an alleged portrait plagiarized from the bust, supporting his fraud with the invented tale that he had obtained it from the library of a Greek in Cyprus and that he had seen a confirming bust in the ruins of Antioch.

Rundgren stated that "We were formed in the late sixties, so most every band was the something. It was always 'the This' or 'the That,' so we were looking for some the thing to be something kind of simple and iconographic, I guess." In their song "Loosen Up", they introduce themselves as "the Nazz, from Philadelphia." In Phoenix, Arizona, another band called Nazz was formed at about the same time that Nazz was formed in Philadelphia.

Frans Post – Fort Frederick Hendrik, 1640. Hessel Gerritsz – Map of Pernambuco, 1631. The Ricardo Brennand Institute houses one of the most comprehensive collections of historical and iconographic documentation related to the 17th century period of Dutch occupation of Brazilian Northeast. Outstanding among these objects is the world's largest ensemble of paintings by Frans Post, the first landscapist of the New World. The Institute holds 15 of Post's paintings, which is equivalent to 10% of the artist's known output.

St. Jerome in his Study at the Walters Museum Another version of this subject was sold at Christie's (28 January 2015, New York, lot 104). This version reprises iconographic elements, which stress Christian beliefs regarding the transience of human life and the importance of the sacrifice of Christ for people to find salvation at the time of the so-called Last Judgement. The work also clearly is close to Albrecht Dürer's St. Jerome in His Study of 1521.

Some of the earliest examples of this Late Gothic style can be found in the chapter house of Vadstena Abbey. These murals were probably painted during the later decades of the 14th century and display both stylistic and iconographic influences from northern Germany, particularly from the painter Master Bertram. It is however mainly the area around Lake Mälaren, particularly Uppland and Västmanland, which sees a dramatic increase in production of church murals between c. 1435 and 1500.

The sky disc is centered on the north pole star, with Ursa Minor depicted as a jackal. An inner disc is composed of constellations showing the signs of the zodiac. Some of these are represented in the same Greco-Roman iconographic forms as their familiar counterparts (e.g. the Ram, Taurus, Scorpio, and Capricorn), whilst others are shown in a more Egyptian form: Aquarius is represented as the flood god Hapy, holding two vases which gush water.

Obviously local practice varied, and practicality will often have trumped whatever desire leaders may have felt to make action mime metaphor" ( Margaret Mary Mitchell, Frances Margaret Young, K. Scott Bowie, Cambridge History of Christianity, Vol. 1, Origins to Constantine (Cambridge University Press 2006 ), pp. 160-161). Robin Jensen writes: "Historians have sometimes assumed that baptism was usually accomplished by full immersion – or submersion – of the body (dunking). However, the archaeological and iconographic evidence is ambiguous on this point.

In yet another context, Varahi is called Kaivalyarupini, the bestower of Kaivalya ("detachment of the soul from matter or further transmigrations") – the final form of mukti (salvation). The Matrikas are also believed to reside in a person's body. Varahi is described as residing in a person's navel and governs the manipura, svadhisthana and muladhara chakras. Haripriya Rangarajan, in her book Images of Varahi—An Iconographic Study, suggests that Varahi is none other than Vak devi, the goddess of speech.

Typical of Soane’s architectural style, Pitzhanger Manor is highly neo- classical in design, with elements of Italian Renaissance architecture and stylistic techniques characteristic of Soane himself. Soane took inspiration from Romano-Grecian art and architecture, often employing them into his neoclassical designs. As Soane has recently been on his Grand Tour, Pitzhanger became exemplary of this stylistic influence. The Manor’s neoclassical features include: meanders, caryatids, ionic columns, the iconographic eagles with laurel wreaths, and so forth.

Maya cave sites are caves used by and associated with the Maya civilization of pre-Columbian Mesoamerica. Certain beliefs and observances connected with cave sites are also maintained among some contemporary Maya communities. These cave sites are understood to have served religious purposes rather than utilitarian ones. Accordingly, archaeological artifacts found within caves can inform interpretations of religious ritual and cave studies combined with epigraphic, iconographic, and ethnographic studies can further inform Maya religion and society.

While it includes rituals and iconographic forms like the early Chinese texts, it introduces origin myths of the deity to justify the Buddhist nature of the Hindu Ganesha.Sanford pp. 287–8, 296–7 Early images show him as with two or six arms. The paintings and gilt-bronze images of the Dual Kangiten with explicit sexual connotations emerged in the late Heian period, under the Tantric influence of Tibetan Buddhism where such sexual imagery (Yab-Yum) was common.

According to a Georgian asomtavruli inscription on a cornice of the iconostasis, the paintings were commissioned by the local nobility (aznauri) from Tevdore, "a royal painter", in 1130. Nakipari is the last church unquestionably painted, after Iprari and Lagurka, by Tevdore; murals at Tsvirmi are conditionally credited to him based on stylistic considerations. The iconographic program at Nakipari is dominated by depictions of the church's titular saint, George. The sanctuary apse contains a set of frescoes in two registers.

122Jonathan Miller, for example, in 1998, continued to regard the inset picture as a reflection in a mirror. Miller (1998), p. 162 The dress worn in the two scenes also differs: the main scene is in contemporary dress, while the scene with Christ uses conventional iconographic biblical dress. This is also a feature of Los Borrachos of 1629, where contemporary peasants consort with the god Bacchus and his companions, who have the conventional undress of mythology.

His actions caused the miniatures' colors to bleed through the pages and left them in the damaged state they are in today. Dolon, folios XXXIV Today the Ambrosian Iliad is held in the Biblioteca Ambrosiana in Milan, which is also the manuscript's namesake. It was purchased from Genoese collector Gian Vincenzo Pinelli’s library and added, by Cardinal Frederico Borromeo, to the Biblioteca Ambrosiana library June 14th, 1608. The manuscript's images can be viewed on the Warburg Institute Iconographic Database.

Outside Romanesque architecture, the art of the period was characterised by a vigorous style in both sculpture and painting. The latter continued to follow essentially Byzantine iconographic models for the most common subjects in churches, which remained Christ in Majesty, the Last Judgment and scenes from the Life of Christ. In illuminated manuscripts more originality is seen, as new scenes needed to be depicted. The most lavishly decorated manuscripts of this period were bibles and psalters.

George E. Lankford, "Regional Approaches to Iconographic Art." In Visualizing the Sacred: Cosmic Visions, Regionalism, and the Art of the Mississippian World, edited by George E. Lankford, F. Kent Reilly III, and James F. Garber, pp. 3-17. 2011, University of Texas Press, Austin. By A.D. 1350, Mound Bottom and Pack appear to have been abandoned as a major centers, and while mound building and repair ceased, both sites continued to be used as burial locations.

Together they form an complex iconographic programme on redemption and faith as incarnated in the lives of saints Barbara (north side), Brigid (south side), Mary Magdalene and Catherine of Alexandria (back wall), along with Christ's victory over evil as predicted by the prophets and sibyls and guaranteed and confirmed in the lives of the saints.Zuffi, cit., pag. 13. Several figures show peasants and other working class figures, often studied from life and previously unrepresented in Italian painting.

The Late classic shows a transition from iconographic logogram usage for the emblem glyph to use of syllables to spell out the name. The "Snake Head Emblem" was originally thought to represent El Perú. This idea came from a pair of looted stelea Ian Graham said came from the site. Scholars David Stuart, Stephen Houston, and others have found a different emblem glyph they believe provides a better representation of El Perú during the Late Classic.

The aim was to move the ball back to the opposite team, preferably through the ring. The goal of the opposition (what today might be termed ‘the defense’) was to force the offense to lose control and to allow the ball to touch the ground. The stone ring was an innovation of the late-classic and early post-classic periods, as seen in Chi. The usual dress for players is known from iconographic and figural findings.

Images of Jesus and narrative scenes from the Life of Christ are the most common subjects, especially the images of Christ on the Cross. Scenes from the Old Testament play a part in the art of most Christian denominations. Images of the Virgin Mary, holding the infant Jesus, and images of saints are much rarer in Protestant art than that of Roman Catholicism and Eastern Orthodoxy. For the benefit of the illiterate, an elaborate iconographic system developed to conclusively identify scenes.

Karam Husain Museum on History of Medicine and Sciences is an academic unit with collections and exhibitions. The main theme is the history of health and disease from a cultural perspective, with a focus on the material and iconographic culture of medieval medicine and sciences. The museum has categorically the illustrations and busts of physicians belonging to Mesopotamia, Babylonian, Egyptians, Greeks, Arab and Indian civilizations. In addition, medical manuscripts, catalogues, medical philately, medical souvenirs, memoirs of physicians including Nobel laureates, etc.

It has a width of 5.85 metres and a height of 4.31 metres and provides a glimpse into the Roman fascination with ancient Egyptian exoticism in the 1st century BC, both as an early manifestation of the role of Egypt in the Roman imaginationAnother Nile floor mosaic, in the House of the Faun, Pompeii, is dated by Meyboom 1995, ca 90 BC. and an example of the genre of "Nilotic landscape", with a long iconographic history in Egypt and the Aegean.

The collection of Cham silver statues is another uniquely rich source of iconographic plastic art, some of them have never been seen intact and in their full glory before. The inscribed Cham ritual vessels represent similar historic value and rarity. Secular jewellery forms a separate category in the museum that sometimes overlaps with that of statue jewellery. The group of small sheets for ritual purposes, inscribed and decorated with figures or other representations, forms a subgroup within the Khmer collection.

The west facade follows an iconographic program of the creation of the world rather than that of the Last Judgement as was traditional in medieval churches. All of the sculptural work was designed by Frederick Hart and features tympanum carvings of the creation of the Sun and Moon over the outer doors and the creation of man over the center. Hart also sculpted the three statues of Adam and Saints Peter and Paul. The west doors are cast bronze rather than wrought iron.

Codex diplomaticus regni Croatiae, Dalmatiae et Slavoniae, vol. I (1967), Zagreb, Tiskara izdavačkog zavoda JAZU: 189 An 1116 report on the military campaign of Venetian Doge Ordelafo Faliero stated that the Doge had destroyed this "impregnable fort".Danko Zelić, Postanak i urbani razvoj Šibenika u srednjem vijeku (PhD diss), 1999: 35. During the High Middle Ages, the Archangel Michael became the dominant iconographic symbol of the Šibenik commune.Evidenced by the archangel's image on the earliest city seals in 13th and 14th century.

The church was consecrated by Bishop Stubbs on 22 November 1893. A new tower designed by G. F. Bodley was started in 1899, but was never completed, this remains as the south-west porch. The Lady Chapel contains three fine windows by F. C. Eden based on an iconographic theme ‘The Plan of Salvation’, picturing the Nativity (Incarnation), the Crucifixion (Atonement) and Pentecost (the gift of the Spirit to the Church). St Margaret's became a parish in its own right in August 1896.

Reading Rainbow was hosted by actor and executive producer LeVar Burton, who at the time was known for his role in Roots. The show was produced first by Lancit Media Entertainment (1983-2001), and then, by On-Screen Entertainment (2002-2006). Every episode featured a different book, often narrated by a celebrity. The featured story's illustrations were scanned by the camera in a technique known as "iconographic animation" of each page shown in succession, although on certain occasions the shots would be animated.

Charles-François Daubigny – Le printemps – Spring His most ambitious canvases are Springtime (1857), in the Louvre; Borde de la Cure, Morvan (1864); Villerville sur Mer (1864); Moonlight (1865); Auvers-sur- Oise (1868); and Return of the Flock (1878). He was named by the French government as an Officer of the Legion of Honor.The Iconographic Encyclopaedia of the Arts and Scien: Sculpture and painting, 1887, page 138 Daubigny died in Paris. His remains are interred at cimetière du Père-Lachaise (division 24).

The characters are illuminated from above, as if by the natural lighting from the real chapel windows. Two groups of Florentine people, representing the populace, are shown to the sides of the scene. They wear contemporary fashionable clothes (for which the frescoes are a famous source), unlike the main biblical figures, who wear the usual "iconographic costume". On the left, two figures may be identified as Lorenzo Tornabuoni, son of Ghirlandaio's patron, and Piero di Lorenzo de' Medici, the former's friend.

187-191 Curiously two early guides of the basilica, those of Alberici (1600) and Landucci (1646), identified the then-existing statues of the chapel as Jonah and Habakkuk, instead of their real subjects, Jonah and Elijah. The mistake could be an indication that a statue of Habakkuk had been part of the iconographic program of the chapel at an earlier stage.Christina Strunck: Bellori und Bernini rezipieren Raffael. Unbekannte Dokumente zur Cappella Chigi in Santa Maria del Popolo, Marburger Jahrbuch für Kunstwissenschaft 30.

The work is rich in symbolism and iconographic elements, to an extent far more pronounced than that in The Madonna Standing. An iris grows to the side of the aedicula, representing the Virgin's sorrow at the Passion, and on the other side a columbine, recalling the Sorrows of the Virgin. This symbolic use of flowers is again a van Eyckian motif. While they may appear incongruous with the architectural setting, this was probably the effect that van der Weyden was seeking.

Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church.Ainsworth (1998b), 319 Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.Van Der Elst (1944), 96 By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe.

This history will continue to affect many generations, and Jones depicts the history accurately in her painting making the story appealing to everyone. With the way she uses design, line, color, space, narrative devices, and iconographic references to tell the story. This painting draws attention to an area of my life that is usually not highlighted in art. Her training in Boston allowed her to paint her heritage accurately, and the certain aspects of history she chose were the most important.

There he created the series, "Icon - The Golden Age," which applied Christian iconographic technique to Jewish–Israeli figures. Abady exhibited his series the "Hannah Arendt Project" in 2005 at the Jewish Museum of Frankfurt and other places. In 2010, seven works from the series were presented at Beth Hatefutsoth museum in Tel Aviv in the exhibition, "Jewish Icons - Andy Warhol and Israeli artists". In 2006 Abady began working on "Radu," a series that concerns the late Israeli-Romanian poet and writer Radu Klapper.

The institute was established in 1948 as the (Central Iconographic Archives of National Art and the Central Laboratory of Belgian Museums, ACL). Its founder and first director was Paul B. Coremans (1908-1965). In 1957 the ACL becomes one of the ten national scientific institutions under the name Royal Institute for Cultural Heritage (KIK-IRPA). The building of the institute, finished in 1963, was the first in the world specially designed to promote the interdisciplinary approach to works of art.

The icons of the iconostasis of Ružica Church in Belgrade were painted by Rafailo Momčilović, who had gained his iconographic skills from Russian iconographers. It is significant to mention that Rafailo donated all his gain to the building of Church of Saint Sava in Belgrade, the work of which had started before World War II. Also, he painted the icons of the iconostasis in the Orthodox church of Gornji Kovilj. There is an art colony in Vojvodina named after him.

Lingayatism is often considered a Hindu sect. because it shares beliefs with Indian religions, and "their [Lingayats] beliefs are syncretistic and include an assemblage of many Hindu elements, including the name of their god, Shiva, who is one of the chief figures of the Hindu pantheon." Its worship is centred on Hindu god Shiva as the universal god in the iconographic form of Ishtalinga. They believe that they will be reunited with Shiva after their death by wearing the lingam.

An idol of Akka Mahadevi holding Ishta Linga in her left hand Lingayatism worship is centred on the Hindu god Shiva as the universal god in the iconographic form of Ishtalinga. The Lingayats always wear the Ishtalinga held with a necklace. The Istalinga is made up of small blue-black stone coated with fine durable thick black paste of cow dung ashes mixed with some suitable oil to withstand wear and tear. The Ishtalinga is a symbolism for Lord Shiva.

The lack of mental and written efficiency in the use of traditional PWR symbols may be because they are not icons. Therefore, these extremely abstract symbols cannot in writing visually depict the truth tables themselves, the simple geometric forms, the notational symmetry relations, and the isomorphic sets of interrelations inherent in logic. Conversely, the XLA symbols are iconographic and they possess a shape value. This enables complex logical operations to be performed through easy flips and rotations of the letter shape symbols themselves.

The lunettes of the portico are decorated with frescoes giving realistic and humorous depictions of scenes daily life and the trades of the period. They represent an important iconographic testament to life between the fifteenth and sixteenth centuries. The 'lunette of the guard house' shows some soldiers, accompanied by some prostitutes, seated at a table and intent on playing cards or tric-trac. Their weapons and armour (including cuirasses, crossbows and halberds) are hung up on a rack attached to the wall.

The Cross of Mathilde contains three classical cameo engraved gems, which have a significant iconographic role. On the horizontal beam of the cross is a brownish chalcedony, with a cameo of a lion lying down or sleeping. On the left arm of the cross, a horizontally striated onyx features a warrior with a spear and helmet in profile facing Jesus. Opposite him, on the right arm of the cross is an oval cameo with a lightly carved female bust on a dark background.

The lion cameo could therefore also be interpreted as a reference to the hope for the resurrection of the donor depicted on the enamel plaque below it.Westermann-Angerhausen, Das Gedächtnis der Gegenstände, pp. 219-220. The meaning of the cameos on the horizontal arms is even less clear. The use of these particular items of spolia seems intentional, but a convincing iconographic interpretation of the naked warrior with spear and helmet and the noble women has not yet been made.

In their current placement the sculptures are elevated to eye level on matching tall, narrow, rectangular stone bases constructed in three pieces and held together via mortise and tenon. The sculptures differ in that each is shown with a traditional iconographic indicator of the depicted season. Spring, to which the IMA assigned accession number LH2001.238, is distinguished by the presence of flower blossoms. The putto stands with his left leg forward, supporting on his left hip a woven basket filled with blossoms.

The iconography of the martyrdom of Andrew — showing him bound to an X-shaped cross — does not appear to have been standardized until the later Middle Ages.Judith Calvert, "The Iconography of the St. Andrew Auckland Cross", The Art Bulletin 66.4 (December 1984:543–555) p. 545, note 12; according to Louis Réau, Iconographie de l'art chrétien III.1 (Paris) 1958:79, St. Andrew's Cross appeared for the first time in the tenth century, but did not become an iconographic standard before the seventeenth.

Like most other versions of the story, Ahalya is turned into stone and advised to engross herself in meditation of Rama, "the Supreme Lord". When Rama touches the stone with his foot on Vishvamitra's advice, Ahalya rises as a beautiful maiden and sings a long panegyric dedicated to Rama. She describes his iconographic form and exalts him as an avatar of Vishnu and source of the universe to whom many divinities pay their respects. After worshipping him, she returns to Gautama.

A rare example of a Shakta Ardhanarishvara, where the dominant right side is female The iconographic 16th century work Shilparatna, the Matsya Purana and Agamic texts like Amshumadbhedagama, Kamikagama, Supredagama and Karanagama – most of them of South Indian origin – describe the iconography of Ardhanarishvara.Rao p. 323 The right superior side of the body usually is the male Shiva and the left is the female Parvati; in rare depictions belonging to the Shaktism school, the feminine holds the dominant right side.Goldberg pp.

According to Hugh de Ferranti, iconographic and literary sources generally portray biwa hōshi as solitary and pitiable figures, though wealthy and powerful individuals also exist in such representations. Sometimes they are depicted as mysterious, frightening, and potentially dangerous individuals while in other sources, they are "ridiculous" characters "to be made fun of, at times with unbridled cruelty". Folklore links biwa hōshi to ghosts through their placation of wronged spirits and the chinkon ritual performance, accounts for their fearful quality.De Ferranti: 45.

The term or its equivalent in other European languages (, plural: Ichthyokentauren; ) has been used in classical art commentary in the modern age, and vernacular terms such as "sea-centaur" (; ) have also been interchangeably applied. Henri van de Waal (1976) placed "ichthyocentaur", "centaurotriton", and "sea-centaur" in the same iconographic group or iconclass synonymous treatment of these terms are also seen in archaeological papers., where "ichthyocentaur" and "sea centaur" are equated. Centaur-Tritons is another name for ichthyocentaurs, noted in a 19th-century reference.

In the past, a lot of his works have been misattributed to Snyders. Garden of Eden, with Jan Wildens De Vos was able to develop his own personal style that accentuated abrupt movement, the gruesome aspects of hunts, used warmer colours and a broader brush stroke than Snyders. He also expanded the iconographic tradition with scenes of fighting cats and horses attacked by wolves. As was common amongst artists in 17th-century Antwerp, De Vos frequently collaborated with other painters.

One of the oldest and most prominent themes in Chibcha art is that of the Crocodile god. Depicted as an anthropomorphic being with a crocodile head, he has been carved into fly-panel metates, sometimes shown standing on a double-headed saurian and other times on a jaguar. As a symbol, the double-headed Saurian has the longest use and distribution of any iconographic element in the Isthmo- Columbian area. Costa Rica flying-panel metates date to the 1st and 7th centuries.

Other objects show the influence that the iconographic and scientific material collected by Nassau in Brazil and distributed among European monarchs had in the production of artworks and in the imagination of his contemporaries, such as the famous tapestries of Anciennes and Nouvelles Indes, based on Albert Eckhout's drawings and woven by the Gobelins Manufactory, of which the Institute owns four examples, as well as imaginary Brazilian landscapes executed by artists who never went to Brazil, such as Jillis van Schendel.

St. Sava Serbian Orthodox Cathedral was designed in the Serbo-Byzantine style. The interior of the cathedral is covered almost entirely with wall mosaics that cost more than US$3 million, and 35 years to complete. The mosaics were designed by Italian artist Sirio Tonelli, and depict a number of important Orthodox Christian figures in the Byzantine iconographic style. The mosaics have been described as, "some of the most extensive and elaborate church mosaics in the United States." by the Milwaukee Journal Sentinel.

Despite these potentially conflicting comments, Wiater and Bissette reiterate that "there is no simpler or more iconographic comic book in existence". Marder ultimately suggests that In April 2008, at the Stumptown Comics Fest, Marder announced that he would resurrect Beanworld with Dark Horse Comics "sometime early next year [2009]".Duin, Steve "The Beanworld, Resurrected" in The Oregonian, April 27, 2008. Accessed August 16, 2008 Diana Schutz was set to edit the resurrected series, which would also be collected by Dark Horse.

He was working as a director of Uzbek Pavilion at Union Agricultural Exhibition in Moscow, when he was unexpectedly arrested and imprisoned. One of the reasons for his arrest was his homosexuality. Many of his works, painted in his early Uzbek period had homoerotic themes and used Bacha bazi as a subject. One of his most well-known paintings "Pomegranate Zeal", which is in the iconographic tradition, tells the story of two young boys from the moment they meet until their death.

Na'aman's preoccupation with seeing and with establishing identity, which showed up even in her early works, became a central theme in a series of her works from the second half of the 1980s. Iconographic motifs of peeking and exhibitionism appeared in many of her works. Various paintings displayed images of empty male garments, reminiscent of the work of DuChamp, especially of his painting "The Large Glass" (Le Grand Verre).For example, paintings such as "Schmutz" (1987) or "Delight to the Eyes" (1989–1990).

St. Athanasius, depicted with a gospel book, an iconographic symbol used mostly for priests and bishops as preachers of the gospel. Athanasius of Alexandria ( – 373) was a theologian, Pope of Alexandria, and a noted Egyptian leader of the 4th century. He is remembered for his role in the conflict with Arianism and for his affirmation of the Trinity. At the First Council of Nicaea (325), Athanasius argued against the Arian doctrine that Christ is of a distinct substance from the Father.

The near disappearance of the cherubs at the top of the image have been attributed with an overall sense of weightlessness of the piece. The work is simplified from some of Murillo's earlier efforts, a result of Murillo's ongoing efforts to distill the depiction to its most iconographic form. It is, accordingly, described as "perhaps the most perfectly resolved" of Murillo's Immaculate Conception images in 2005's Seventeenth-century Art and Architecture. Several influences on Murillo are found in the painting.

The words "As I Can" are a play on his name. Their spelling varies between examples, usually translated as Als ich can. See Dhanens (1980), 188, 385 the triptych can be placed at the midpoint of his known works. It echoes a number of the motifs of his earlier works while marking an advancement in his ability in handling depth of space, and establishes iconographic elements of Marian portraiture that were to become widespread by the latter half of the 15th century.

In this type of iconographic representation, the sekhem is often given two eyes, which were carved or painted on the scepter's upper part as a symbol indicating that it was the manifestation of divine power. The sekhem was also utilized in temple and mortuary offering rituals. The officiant who presented the offerings often held it. In such cases the scepter was held in the right hand and was waved four or five times over the offerings while ritual recitations were being made.

The fort temples are dominated by the Jain temples in the eastern part of the hill fort; the images here are mostly of the "iconographic and the stylistic variety".Titze p.103 The Jain complex was built during 8th to the 17th century and consist of 31 Jain temples housing around 2,000 sculptures which is the largest such collection in the world. The Jain temples have a large number of panels depicting scenes from Jain mythology, tirthankara images and votive tablets.

It seems that the vessel's pagan origins were overlooked when it was converted into a Christian chalice during the Middle Ages. Classicist Erika Zwierlein-Diehl noted that many descriptions of the cup omitted the Dionysiac nature of the carvings and images, merely noting that the cup was engraved with "trees, heads, animals, and birds." This (possibly purposeful) loss of iconographic understanding, also referred to as "un- naming", seems to have been a way for pagan artifacts to be reused for Christian purposes.

Iconographic or images of dental modification, including filling and inlay, are pictured on ceramics or within paintings found at Maya or other Mesoamerican sites. Additionally, teeth of Maya individuals have been excavated from Maya sites and analyzed by dendrologists and other dental specialists recognized dental disease associated with excess filling or drilling of the teeth. This means dental modification was occurring on living subjects. Dental diseases found on the remains of the teeth of Maya individuals shows evidence for excessive dental modifications.

A variety of symbols or iconographic conventions are used to represent Earth, whether in the sense of planet Earth, or the inhabited world, or as a classical element. Representations of the globe of Earth, either with an indication of the shape of the continents or with a representation of meridians and parallels remains a common pictographic convention to express the notion of "worldwide, global". The modern astronomical symbol for Earth as a planet uses a circle with a cross (representing the equator and one meridian) is 🜨.

Deloche focused on two different areas of history throughout his career: the study of 18th century French manuscripts regarding the political, economic, and social history of India, and the study of the history of Indian technology. His studies uncovered many previous lost parts of Indian history, and created many connections between India and France. Additionally, he carried out studies on military techniques of the Hoysala Empire using iconographic documents. In 2008, Deloche won the Prix Hirayama, given by the Académie des Inscriptions et Belles-Lettres in Paris.

Tomb and works of Kostandin Shpataraku (in Albanian) His art and legacy was distinguished by his miniatures by introducing elements from everyday life in visual art. His artistic work is represented by a collection of icons and frescoes for example inside the Ardenica Monastery and St. Jovan Vladimir's Church. Many of his works belong to private collections. Several works have been collected and restored and are nowadays on display at the National Museum of Medieval Art in Korçë, National Iconographic Museum in Berat and other museums.

University of Texas Press. pp. 118–121. Miranda Green observes that "triplism" reflects a way of "expressing the divine rather than presentation of specific god-types. Triads or triple beings are ubiquitous in the Welsh and Irish mythic imagery" (she gives examples including the Irish battle-furies, Macha, and Brigit). "The religious iconographic repertoire of Gaul and Britain during the Roman period includes a wide range of triple forms: the most common triadic depiction is that of the triple mother goddess" (she lists numerous examples).

The goal of project is to study the historical and anthropological dimension of games and toys in Antiquity. A team of researchers has been put in place in order to search all available primary sources such as literature, archaeological, and iconographic material relating to games and toys in antiquity. It is the first time this field is researched by a multidisciplinary team in Europe. The project is based at the University of Fribourg, Switzerland, in the faculty of Art and Archaeology in Classical Antiquity.

153-163 The ivory cover of the Stammheim Missal (de), in which Alcuin presents a book to St. Martin of Tours, as the patron saint of his cloister, could derive from a bible of Tours acquired by Bernward.1000 Jahre St. Michael in Hildesheim, Petersberg 2012(Schriften des Hornemann Instituts, Vol 14), p. 140, pl. 54 Rudolf Wesenberg drew further iconographic and stylistic connections, but with traditional frescos in St. Paul beyond the Walls and Old St. Peter's which Bernward could have seen while in Rome.

Heracles did this, by (as in Apollodorus) using his lion-skin instead of his shield, and making stone points for his arrows, but when Hades still opposed him, Heracles shot Hades in anger. Consistent with the no iron requirement, on an early-sixth-century BC lost Corinthian cup, Heracles is shown attacking Hades with a stone,Smallwood, pp. 96–97; Ogden 2013a, p. 111. while the iconographic tradition, from c. 560 BC, often shows Heracles using his wooden club against Cerberus.Ogden 2013a, p. 111.

The National Iconographic Museum "Onufri" () is an Albanian national museum dedicated to Byzantine art and iconography in Berat, Albania. The museum is located inside the Church of the Dormition of St Mary in the castle quarter Berat.Nomination file Historic Centres of Berat and Gjirokastra, UNESCO The museum was named to honor Onufri, an Albanian painting Headmaster of the 16th century. The museum features on display 173 objects chosen among 1500 objects belonging to the found of Albanian Churches and Monasteries as well as to Berat.

Fortune crept back into popular acceptance, with a new iconographic trait, "two-faced Fortune", Fortuna bifrons; such depictions continue into the 15th century.As Pfeiffenberger observes, citing A. Laborde, Les manuscrits à peintures de la Cité de Dieu, Paris, 1909: vol. III, pls 59, 65; Pfeiffenberger notes that there are no depictions of a Fortuna bifrons in Roman art. The ubiquitous image of the Wheel of Fortune found throughout the Middle Ages and beyond was a direct legacy of the second book of Boethius's Consolation.

Mexico, Conaculta, 1990, Los Noventas collection. Entrusted with the task of evangelization of the newly conquered Mesoamerican Indians, the friars created with the whole monastery a sum of didactic and symbolic elements, with iconographic programs and diverse elements that condensed the beliefs accumulated by mendicant experience in similar tasks in Europe, Asia and Africa. The monastic buildings in all their elements included a voluntarily Medieval load and ancient appearance (archaizing), using their builders influences used several centuries earlier in Europe, but with 16th century techniques.

Iconographic Baroque mural paintings in a wooden church accessed 3 July 2007 The church itself, a larch construction with a slate roof, was in such a bad state around 1850 that local officials asked the regional Prussian government to allow the church to be dismantled and build a new one instead. The response gave permission to only overhaul the building. Existing wall paintings were covered with a layer of reed and ordinary plaster, and forgotten for some 150 years. Saint Nicolas' Church in Gasawa.

In 2019, Blaauw played for the premiere of Richter's "Moving Picture 946-3" at the Kiyomizu-dera Temple in Kyoto, Japan. The film was created in collaboration with Corinna Belz (filmmaker) with score for solo trumpet and electronics by Rebecca Saunders and has since also been a featured event at Musikfest Berlin 2020. Recently, Blaauw has been working on the Global Breath project working to record and archive iconographic sounds, as well as connect pioneering trumpet players worldwide. The project will host a conference in March 2021.

In 1671 he was received as a member of the Académie royale de peinture et de sculpture on the basis of a marble relief of Hercules Crowned by Glory (Musée du Louvre). From this time he received royal commissions, at Les Invalides and at Versailles, where iconographic treatment and design were tightly controlled and the sculptor was often presented with a sketch or working drawing to follow.See Charles Le Brun’s drawing for Girardon’s monument to Louis XIV that was planned 1679-83 for the Louvre. (F.

Six on the left and four on the right, if one does not count two other figures who may or may not be marshals, then this group might be taken to be the ten eponymous heroes who gave their names to the ten tribes. Their proximity to the deities indicates their importance, but selecting differently, then nine of them may be the archons of the polis or athlothetai officials who managed the procession; there is insufficient iconographic evidence to determine which interpretation is correct.

Cyril Aldred, following up earlier arguments of Grafton Elliot Smith and James Strachey, suggested that Akhenaten may have suffered from Frölich's syndrome on the basis of his long jaw and his feminine appearance. However, this is unlikely, because this disorder results in sterility and Akhenaten is known to have fathered numerous children. His children are repeatedly portrayed through years of archaeological and iconographic evidence. Burridge suggested that Akhenaten may have suffered from Marfan syndrome, which, unlike Frölich's, does not result in mental impairment or sterility.

The corrupted part 'scope' was understood to be derived from Greek 'skopos', meaning "aim", "target", "object of attention" or "watcher", "one who watches" and was quite common in the naming of optical devices (e.g. Telescope, Microscope, Kaleidoscope, Fantascope, Bioscope). The misspelling 'phenakistoscope' can already be found in 1835 in The American Journal of Science and Arts and later ended up as a standard name through encyclopedias, for instance in A Dictionary of Science, Literature, & Art (London, 1842)Iconographic Encyclopaedia of Science, Literature, and Art (New York, 1852).

Our Lady of Vladimir, tempera on panel, , painted about 1131 in Constantinople The Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir. (, ), and the Theotokos of Vladimir (), is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon.

The Creation of Adam () is a fresco painting by Italian artist Michelangelo, which forms part of the Sistine Chapel's ceiling, painted c. 1508–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which God gives life to Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis. The image of the near-touching hands of God and Adam has become iconic of humanity.

553–566 It was "re-used" by successor organizations in 1983, without the publicity Rockwell's organization enjoyed. The swastika, in various iconographic forms, is one of the hate symbols identified in use as graffiti in US schools, and is described as such in a 1999 US Department of Education document, "Responding to Hate at School: A Guide for Teachers, Counselors and Administrators", edited by Jim Carnes, which provides advice to educators on how to support students targeted by such hate symbols and address hate graffiti.

The shift to increasing maize consumption early in the Conchas phase may have had important social and economic consequences, signaled by population growth and aggregation and the construction of monumental earthen mounds.Blake p. 91 Increase reliance on agricultural production provided the economic base for continued population growth and increase in sociopolitical complexity that apparently was not possible in the Mazatán zone. Dietary, technological and iconographic evidence all indicate that a fundamental reorganization of the Soconusco economy occurred during the early Middle Formative Conchas phase.

In Jenkins (2003), p. 344. Figured (patterned) Byzantine silks of the 6th (and possibly 5th) centuries show overall designs of small motifs such as hearts, swastikas, palmettes and leaves worked in two weft colours. Later, recognizable plant motifs (such as lotus leaves and flowers) and human figures appear. Surviving textiles document a rich exchange of techniques and iconographic themes between Constantinople and the newly- Islamic textile centres of the Mediterranean and Central Asia in the years after the Muslim conquests of the 7th century.

Lawal evokes the Yoruba reference to Osanyin as "The one who sees everything, like Olodumare," allowing him a vantage point from which he can protect all of humanity below. The birds, emissaries of Ogun, refer to the herbalist's understanding of and power over these malevolent people. There are typically sixteen birds, invoking the most sacred number of divination, surrounding and confronting the central bird, which represents the smallpox god. The birds on Osanyin staffs suggest an iconographic link with the birds on Obas' crowns.

The realism is accentuated with the help of added false elements which boost the feeling of authenticity: eyes are made of glass, nails and teeth of ivory, blood clots of cork, sweat drops and tears of resin. Fernández created sculptures for altarpieces and “pasos procesionales”, like Camino del Calvario (Spanish for “the way to Calvary”). He made many iconographic images (Cristo Yacente, La Piedad, el Ecce Homo, Santa Teresa) which served as models for other artists for many years to come. He died in Valladolid.

The ten disciples can be found as an iconographic group in notable places in the Mogao Caves. They are mentioned in Chinese texts from the fourth century BCE until the twelfth century CE, and are the most honored of the groups of disciples, especially so in China and Central Asia. The ten disciples are mentioned in the Mahāyāna text Vimalakīrti-nideśa, among others. In this text, they are called the "Ten Wise Ones" (), a term which is normally used for the disciples of Confucius.

The Arch of Septimius Severus at Leptis Magna, discovered in ruin after the First World War in 1928, once stood as a symbol of the Severan dynastic and militaristic program. When Giacomo Guidi found the arch, it was completely fragmented, showing only the base structure, buried underneath the sand. After extensive excavation and reconstruction, the grand arch appeared to have been decorated in ornate deeply drilled floral and iconographic programs. The central arch made of a limestone core and a marble facing featured elaborately decorated panels.

Many of the portraits were commissioned to the artists directly by Padre Martini. The painters drew the features of the musicians from engravings of the time. In reality, he wasn't interested in the artistic worth of the paintings as much as their plausible resemblance to the model. He was also more interested in whether they were in harmony with his century's interest in the physiognomic reading of faces with the intention of giving iconographic testimony of the people bonded by one common denominator – music.

Watkins, pp. 94–95. Only two of the disciples can be identified with any degree of certainty: Peter with his iconographic grey hair and beard, and blue and yellow attire, and John; the young beardless man standing next to Christ. John's head is reminiscent of Roman sculptures, and it is reflected in the very similar face of another disciple on the right. The person next to this disciple is assumed to be Judas, whose dark and sinister face mirrors that of the tax collector.

All the cameos are ancient spoliaPothmann, Der Essener Kirchenschatz aus der Frühzeit der Stiftsgeschichte, p. 147, considered the lion cameo to be Medieval. The iconographic significance of the cameo gems is not yet completely clear. The lion stands on the vertical beam of the cross in the same spot in which the chased snake appears on the Cross of Otto and Mathilde and in which the Gorgon cameo appears on the Senkschmelz Cross - both of these symbolise evil's defeat as a result of the crucifixion of Christ.

After the restoration of democracy in the mid-1970s, the Greek film industry again flourished, led by director Theo Angelopoulos, whose films captured international recognition, making him probably the most acclaimed Greek director to date. Other acclaimed directors of this era include Nikos Nikolaidis, as well as Pantelis Voulgaris and Alexis Damianos, the director of the landmark film Evdokia. However, this drift toward art-house cinema in the 1980s led to a decline in audiences. In the 1990s, younger Greek filmmakers began experimenting with iconographic motifs.

Usually, the dogs are his own, who no longer recognize their master. Sometimes they are Artemis' hounds. According to the standard modern text on the work, Lamar Ronald Lacey's The Myth of Aktaion: Literary and Iconographic Studies, the most likely original version of the myth is that Actaeon was the hunting companion of the goddess who, seeing her naked in her sacred spring, attempts to force himself on her. For this hubris, he is turned into a stag and devoured by his own hounds.

The inclusion of Dionysus on the other side may reference the fact that festivals to Dionysus often featured plays, of which this might have at one time been one. The krater is attributed to the Darius Painter, for similarity in several stylistic and iconographic elements. Called one of the most literate painters, this pot provides inscriptions labelling several of the important figures, which have been instrumental in identifying this pot with the play Thyestes at Sikyon, even though we don’t have the play itself.

Instead of the traditional Byzantine iconographic depiction, the painters used the deep, rich colors, the intense light and dark shadows, and the eventful and realistic portrayal of late Baroque painting. The exact reason for turning towards the Western style is still disputed. However, Greek Catholicism by nature is closer to the Latin Rite, especially in 19th-century Hungary, where most of the population was Roman Catholic. Thus Western art and probably the Catholic rulers of the country, the Habsburgs, influenced the painters and the parish too.

In Belgrade she completed elementary school and the cultural-linguistic Twelfth Gymnasium, department for foreign correspondent. She graduated in 1999 at the University of Belgrade Faculty of Philosophy, at the Department of Art History / Subdepartment of National History of Art of the New Century, with the theme "Coronation of the Virgin as an Iconographic Theme in Serbian Baroque Painting", suma cum laude. She attended museology seminars organized by the Ministry of Culture and Information of Serbia. She gained the title of the state curator in 2006.

The fort temples are dominated by the Jain temples in the eastern part of the hill fort; the Jain images here are mostly of the "iconographic and the stylistic variety".The Jain complex was built during 8th to the 17th century and consist of 31 Jain temples housing around 2,000 sculptures which are largest such collection in world. The Jain temples have a large number of panels depicting scenes from Jain mythology, tirthankara images and votive tablets. The pillars are carved with a thousand Jain figures.

The Church Fathers, Early Church Fathers, or Fathers of the Church are the early and influential theologians and writers in the Christian Church, particularly those of the first five centuries of Christian history. The term is used of writers and teachers of the Church, not necessarily saints. Teachers particularly are also known as doctors of the Church, although Athanasius called them men of little intellect.Athanasius, On the Incarnation 47 St. Athanasius, depicted with a book, an iconographic symbol of the importance of his writings.

The discovery of the ship provided researchers with insights into the development of ancient shipbuilding. The ship displays many similarities to other ancient ships such as the Kyrenia ship, but also important differences in size, construction methods and material, and ballast. Beside offering clues to the evolution of anchors, the Ma'agan Michael anchor is also the first complete one-armed ancient wooden anchor ever discovered. Although absent from iconographic and literary source, maritime archaeologist Gerhard Käpitan had already suggested their existence in the 1970s.

Chacon, O'Mansky, and Demarest 2007:13-15 Iconographic depictions of trophy heads tend to show the heads being suspended in midair, held by the hair, or even upside down. In addition they depict blood or possibly other fluids flowing from the neck, eyes or mouth. Holding a head by the hair is seen as a sign of disrespect. In Maya iconography, these heads are usually fastened upright with the eyes opened and are worn on a belt that is positioned on the small of the wearer's back.

In order to make the images available to a greater number of persons, Alinari has established an on-line search system of its photographic archives, employing a system of iconographic classification produced in collaboration with the University of Florence with over 330,000 images. 400 new images are added online daily. The digitization process is done using a Kodak EverSmart Supreme flatbed scanner and a Leaf/Mamiya 80 megapixels Aptus II 12 80 digital camera back. Color correction is done using Eizo monitors through a fully calibrated system.

Learning for students was often kinesthetic, for example, through dramatic enactments of history and fantasy, and through musical exercises that were reminiscent of the patterns found on ancient Greek vases, depicting figures moving in parallel patterns. These parallel patterns could be found in later Nerdrum work, as can a sensibility for iconographic images and costume. Jens Bjørneboe, Norwegian author, and mentor said Nerdrum even at a young age exhibited tendencies of innate talent and industry, but also impatience with those with less abilities than himself.

This Dacian style of animal art occurs at the time when various ancient historical sources begin to record the Geto-Dacians as an ethnic entity of the larger Thracian family; therefore, this artistic expression might be considered as specific to the Dacian society of the last centuries BC. Some scholars sustain that the zoomorphic motifs of that particular time do not represent any kind of zoolatry of the Geto-Dacians. These would be iconographic motifs highlighting and multiplying certain attributes of the deities or of the kings.

The young man playing the bagpipe is an older son of Steen. The laughing face of Jan Steen is commonly depicted by the artist in his paintings and is considered to be his iconography while laughter is also thought to be a symbol of foolishness and or fault. A reader might interpret the many laughing faces as gained wisdom, human fault, or lessons learned. Steen's iconographic grin has become somewhat of a folk character to museum patrons who delight in seeing his face in paintings.

The painting depicts Saint Appolonia, a martyr who died in Alexandria during an uprising against Christians in the thirteenth century. The portrait shows the saint from the waist up, against a dark background, looking up, as if skyward. Her left hand extended upward, while her right hand is carrying a pair of tweezers with a tooth, an iconographic attribute that helps identify her as Apollonia. The dress of Apollonia is mauve velvet with light blue sleeves that allow to appreciate the draping of the fabric.

On the second floor and on the third floor is the Library of the Neapolitan Society of Homeland History. The library has book, iconographic, documentary and parchment collections. It is a private library, therefore access is governed by rules set by the Articles of Association and prescribed in the Rules. The library contains one of the first books printed in Italy (the fourth), the De civitate Dei of Augustine of Hippo made in June 1467 a Subiaco by two German clerics : Sweynheym and Pannartz.

Three icons placed upon the iconostasis were executed by the Bishop of Tripoli, Barthenios, in 1761, just after the church's restoration. They are typical of the Aleppine iconographic school, with Arabic inscriptions, brown faces, almond eyes, and sumptuous gilded costumes that reveal something of the prosperity and tastes of urban Syrian Christians at that time. The background is a dark gold tending towards orange. The luminous color of these icons blends with the dark tint of the wooden iconostasis to give a warm effect.

The search of the safest iconographic sources was a key aspect of the work of Paul Ardier and its painters. The paintings are mostly copies made in other French and European galleries. Copyists Ardier Paul worked in various existing collections, for instance, that the Chateau de Selles-sur-Cher, near Beauregard where Philippe de Bethune had gathered a collection of historical portraits. It was in the Richelieu gallery at Palais Cardinal in 1635, the painting of Louis XIII was copied from the painting of Philippe de Champaigne.

It is certainly true that the anecdote of the bearded Madonna, in particular, has much in common with a story told about the thirteenth-century painter Cimabue by Vasari's Florentine contemporary, Anton Francesco Grazzini, known as Il Lasca. By the mid-sixteenth century Cimabue had come to be popularly identified as a crude and inept painter, supposedly blind from birth or with such visual impairment that his eyes could be described as ‘lined with cloth’ (‘fodrati di panno’). In Lasca's Comento sopra il Capitolo della salciccia, the author relates that once when Cimabue painted Mary Magdalen in the desert, he decided to give her a beard in order to make her look particularly old and haggard. The unexpected result, however, was that Cimabue's Magdalen was mistaken by all who saw her for St. Onofrio, an ascetic saint usually clad in nothing other than his flowing beard. In Lasca's anecdote the painter's daring iconographic innovation, instead of shocking viewers as Nunziata's Madonna would have, simply leads them to an iconographic misstep—“rectifying” the anomalous iconography of the Magdalen as bearded old hag by confusing it with the quite canonical iconography of a male hermit saint.

To his hand, with more or less certainty, are the icons from the iconostasis in Mrkovima around 1703, the icon of Avram's Hospitality from Praskvica from 1714, the design act from the National Museum in Belgrade, as well as iconic works in the Savina, Piva, and Krka monasteries and the Church of St. George in Srpska, near Podgorica. Dimitrije accepted most of his iconographic and stylistic choices from his teacher Zograf Radul and from Zograf Jovan. He inherited compositional and color solutions, figure processing and the organization of space, but is distinguished from the works of older masters by a more pronounced schematization of forms, a more refined and less noble color selection, and coarser processing. Some of Dimitrije's works also feature some of the less frequently presented iconographic themes, such as certain scenes in the extensive cycles of Saint Petka in Mrkovima and St. Nicholas in Pelinovo, an extensive cycle of the church calendar on the frescoes in Pelinovo, compositions by the Virgin Mary the Living East and the Virgin Mary's Cover on the icon of the Assumption of the Virgin in the Morača Monastery.

Just like during the early classical, is during the postclassical period when the iconographic connection is lost again, detected between the Valley of Morelos and Guerrero, and Guerrero eastern coast of Chiapas with Guatemala, is lost. But unlike the early classical, it is known that during the postclassical period, the Tututepec political expansion is responsible for having blocked the Pacific route and the route never again had important traffic. Ironically it is today, with migrants and narcotics trafficking, when the Pacific route, land and maritime, has strongly resurfaced reviving routes lost a thousand years ago.

The other iconographic figures seen here are also found in other temples within the complex, and one such is of Vajradhara depiction. The Bodhisattva Maitreya Temple (Byams-Pa Chen-po Lha-khang) is an ancient temple built in the first 100 years of the main monastery as testified by the wooden door frame. Remnants of a painting is attributed to the 14th century. According to the sketch in the Mandala Temple it is indicated that the Maitreya Temple was initially double storied, which is also confirmed by the damage to the entrance wall.

The pamphlet is divided into two parts: the figurative and the explanatory. The iconographic representation occupies the largest part of the picture, while she is repeated in reduction in the left corner. The head of Alexander ( his identity is given in the explanatory ) prevails in the center. He has long hair, wears a helmet decorated with winged dragon tail to the side and human face at the cornice, while the breastplate is decorated with a human figure. The portrait is surrounded by an octagonal frame and is divided in 8 unequal trapezoidal panels.

Likewise, Taweret's nurturing aspects are also reinforced in her iconography, as she frequently is shown with a bloated pregnant belly, and pendulous human breasts. These breasts are shared by the god of the Nile inundation, Hapi, and signify regenerative powers. Taweret's riverine form allows her to participate in that which annually revives the Nile Valley: the inundation personified by Hapi. It is partly due to her role in this event that may share this iconographic feature with Hapy. She frequently is seen holding the sa hieroglyphic sign (Gardiner V17), which literally means "protection".

Buddha in parinirvana, Gandhara art, 2nd or 3rd century Reclining Buddha of Galvihara at Polonnaruwa (Sri Lanka, 12th century) A reclining Buddha is an image that represents Buddha lying down and is a major iconographic theme in Buddhist art. It represents the historical Buddha during his last illness, about to enter the parinirvana. He is lying on his right side, his head resting on a cushion or relying on his right elbow, supporting his head with his hand. After the Buddha's death, his followers decide to build a statue of him lying down.

A photo of the original sculpture The Beautiful Madonna from Toruń - a Gothic sculpture depicting Mary and Infant Jesus. One of the most valuable, in terms of artistic value, images of the Madonna and Child made at the turn of the 14th and 15th century. In terms of typology and stylistics, this work is pars pro toto of the Beautiful Madonna, an iconographic type shaped before 1400. The sculpted images of Beautiful Madonnas represent the Beautiful style, a stylistic trend shaped during the Gothic period in Central Europe.

Karolien de Clippel; Adriaen Brouwer, Portrait Painter: New Identifications and an Iconographic Novelty, in: Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 3/4 (2003), Stichting Nederlandse Kunsthistorische Publicaties, pp. 196-216 Peasants brawling over cards Early biographers describe how Adriaen Brouwer and his artist friends spent a lot of their time partying in the local taverns, often joined there by fellow artists. Brouwer painted a tavern scene called The smokers, which included a self-portrait together with portraits of Jan Cossiers, Jan Lievens, Joos van Craesbeeck and Jan Davidsz.

Until 1972 a book cover from Ottonian times (c.1020) with goldsmithery and a Byzantine ivory relief from the late tenth century with a depiction of Mary holding Baby Jesus in the centre was bound to the manuscript. This cover probably belonged to an altarpiece donated by Emperor Henry II, to whom the Pala d'Oro in Aachen Cathedral is also attributed. The centre of the cover is an ivory panel, showing the Theotokos as Hodegetria (Way-pointer), one of the five main iconographic types of the Madonna in Eastern Orthodox art.

Subject to the layout of each church, the iconographic schema typically accords with the classic Byzantine tripartition, evident also in Byzantine mosaic decoration, the three zones comprising: (1) the dome and conch of the apse; (2) the pendentives, squinches and upper vaults; and (3) the lower, secondary vaults and walls. The first is reserved for depictions of the holiest persons, the Christ Pantokrator and the Virgin; the second for scenes from the Life of Christ and the festival cycle; and the third for the choir of intercessory saints.

In its iconographic scheme the Ardhanari, Brahma and Dakshinamoorthy in the niches of the outer wall are featured. The other sculptures on the walls almost life-size reflect either the donors to the temples or contemporary princesses and princes. The epic scenes are in low relief on the plinth below the pilasters of the walls of the sanctum, recalling the wood work. The Devi shrine is an independent structure situated in the outer prakaram(outer precincts of a temple), detached from the axial unit, though it faces south, a feature common to Saiva Devin shrines.

Dale, 743, and Talbot Rice 148-168 Greek Pope John VII was "by far the most outstanding patron of the Byzantine iconographic style", commissioning innumerable works from "traveling Greek craftsmen".ekonomou, 2007, p. 266. Four churches in Rome have mosaics of saints near where their relics were held; these all show an abandonment of classical illusionism for large-eyed figures floating in space. They are San Lorenzo fuori le Mura (580s), Sant'Agnese fuori le mura (625-638), Santo Stefano Rotondo (640s), and the chapel of San Venanzio in the Lateran Basilica (c.

Fourteen chandeliers, made in Athens, Greece, light the interior of the temple and the church's baptismal chapel. The iconography of the church is hand-painted by Orthodox-iconographer monks from Buena Vista, Colorado. The iconography, depicting scenes from Christ's life, his miracles, parables and hundreds of saints, was still in progress in 2013, and would be one of the most elaborate iconographic schemes in the US when completed, with no wall space remaining unadorned. Cost was estimated to be in the millions of dollars, with completion planned for 2021.

The abandoned Telephus being suckled by a deer was a frequent iconographic motif.Heres and Strauss, pp. 862-865, section C. Telephos von der Hindin gesäugt (Telephus suckled by the hind) LIMC Telephos 5-17, and section D. Herakles entdeckt Telephos (Heracles discovers Telephus) LIMC Telephos 18-42; comprising more than a third of the 101 entries for Telephus in the Lexicon Iconographicum Mythologiae Classicae. Except for the Telephus frieze, which depicts the abandoned Telephus being suckled by a lioness, every other depiction of this event shows Telephus suckled by a deer.

Smith 1977. The Casina's rich and at times obscure iconographic programme, of the efficacy of baptism, the primacy of the papacy and the welcomed punitive powers of the Church,As examined by Smith 1977. seems to have been inspired by Cardinal Charles Borromeo, nephew of Pius IV, who probably had it in mind as the headquarters for the Academy he was about to found, on 20 April 1562, called Accademia Noctes Vaticanae. Graham Smith suggests that the interrelated iconography of the interior frescoes was inspired by Cardinal Marcantonio da Mula.

By setting up closed circuit TV cameras nearby, she gave contributors the air of speaking as pundits on TV, breaking with role expectations and their own personal experience. Beginning in the 1980s and until her last works in the mid 1990s, Lublin returned to interacting with iconographic works, particularly Renaissance paintings. She deconstructed the imagery of these paintings by, for example, removing the child from different paintings of Madonna with the child. This work explored the role of the baby and his mother in paintings created by male painters.

In the foreground, An iconographic symbol of Krishna with Arjuna during the Kurukshetra war – the context for the Bhagavad Gita. The background depicts Krishna's Vishvarupa (cosmic form) described in the Bhagavad Gita. According to the epic poem Mahabharata, Krishna becomes Arjuna's charioteer for the Kurukshetra War, but on the condition that he personally will not raise any weapon. Upon arrival at the battlefield and seeing that the enemies are his family, his grandfather and his cousins and loved ones, Arjuna is moved and says his heart will not allow him to fight and kill others.

Some of the iconographic themes were original, while others were borrowed from the Roman coinage. When borrowed, the themes acquired new meanings or resonances. For example, the heads on the obverse was usually a personification of Italia depicted as a goddess with a helmet, which replaced the head of Rome, accompanied by a legend reproducing his name, ITALIA, in the Latin alphabet or VITELIU (víteliú = Italia) in Oscan alphabet (there is a unique copy, actually in the de Blacas collection, known to report the double LVITELLIU [vítelliú]).Theodor Mommsen, Histoire de la monnaie romaine, (trad.

In such funerary context, the deceased's statue was not just an abode for his personality, but also became the focal point of the cult's offerings; in other words, "the image became the reality".Spanel, p.5. As the deceased wished to be remembered as an upright and blameless individual, the ka statues tend to be idealized. Egyptian funerary masks Many royal ideal representations are a "type of countenance ... including iconographic and stylistic details (to convey the king's) physiognomical characteristics (as well as) physical particularities with a great deal of traditional idealization".

The Museo Ideale traces its origins to the 1993 exhibition, Leonardo and Leonardism in Naples and Rome. Modeled after the Capodimonte Museum and Palazzo Barberini, the museum is dedicated to researching and cataloguing works by Leonardo's collaborators, students and followers, in order to highlight characteristics of da Vinci's studio, as well as the extension of his influence in various Italian and European regions. The aim is to represent and compare a growing number of works by Leonardeschi artists via scientific examination and iconographic analysis, in order to attribute works.

A symbolic palette and brush are painted within that same blue circle, the star in the top left corner has rays of squiggly blue, green, and black streaks that radiate diagonally. The star is inside of a yellow circle shining down on the people gesturing towards it, this picture reflects what Jones was trying to convey to her audience. Jones chooses to briefly convey certain moments of the story by the use of certain iconographic references, and narrative devices. She uses several strategies in this piece to tell this story.

PBS introduced its first iconographic logo in 1971, a multi-colored wordmark of the network's initials with the P designed to resemble a silhouette of a human face. The logo was designed by Ernie Smith and Herb Lubalin of the Lubalin Smith Carnase design firm. Lubalin's human face "P", known internally at PBS as "Everyman", but more commonly known as the "P-Head", became the basis for all subsequent PBS logos. In 1984, PBS introduced a new version of the logo, designed by Tom Geismar of Chermayeff & Geismar.

Shaligrams are iconographic fossil stones particularly found in the Gandaki River in Nepal which are worshipped by Hindus as representative of Vishnu. The shaligrama – which has the marks of a shanka, chakra, gada and padma arranged in this particular order – is worshipped as Keshava. Twenty-four orders of the four symbols defined for Shaligrama are also followed in worship of images of Vishnu with different names. Out of these, besides Keshava the four names of images worshipped starting with Shankha on the upper hand, are: Madhusudanah, Damodara, Balarama and Vamana.

Together with the majority of scholars, the other members of the group took the yili xue (義理學, "principle study") approach, which was based on literalistic and moralistic concepts. The other approach, taken by Shao alone, was the xiangshu xue (象數學, "image-number study") approach, which was based much more on iconographic and cosmological concepts. An approach to I Ching divination known as Mei Hua Yi has been attributed to him. Ssu Ma Kuang (a close friend of Shao Yung) edited the Taixuanjing by Yang Xiong (written in 10 AD).

The original provision of the iconographic elements was invalidated since in the 18th century numerous images were introduced recovered from the dismantled Acibecharía facade. A central medallion shows the Eternal Father (or Transfiguration) with open hands and on the top surface there are four angels with trumpets heralding the Final Judgment. In the tympanum of the left door is Christ tempted by a group of demons. To the right is a half-dressed woman with a skull in her hands, which could be Eve or the adulterous woman.

"Simon Schama." Publishers Weekly 238, No. 22 (17 May 1991): 46. Academic Search Premier, EBSCOhost (accessed 30 April 2009). Schama interpreted the ambivalences that informed the Dutch Golden Age of the 17th century, held in balance between the conflicting imperatives, to live richly and with power, or to live a godly life. The iconographic evidence that Schama draws upon, in 317 illustrations, of emblems and propaganda that defined Dutch character, prefigured his expansion in the 1990s as a commentator on art and visual culture.Adams, Julia; Stoler, Ann (November 1988).

Nilotic landscape is any artistic representation of landscapes that emulates or is inspired by the Nile river in Egypt. The term was coined to refer primarily to such landscapes created outside of Egypt, especially in the Aegean, though it is occasionally used to refer to scenes of hunting and fishing in Egyptian art. A nilotic landscape is a river scene with rich and abundant plant and animal life, much of which is native to Egypt. Common iconographic elements include papyrus, palm trees, fish and water birds, and in some cases felines, monkeys, and/or crocodile.

In addition, Kielland delivered proposals to design all of the church windows and received the commission to create the stained glass windows. The paintings are iconographic imagery which were produced in collaboration with Oluf Kolsrud (1885–1945), professor of church history. The Rose Window motif faces west into the sunset and symbolizes doomsday. The rose window’s structural layout followed the design by cathedral architect Olaf Nordhagen, and the diameter is built up around an eightfold symmetry with the innermost parts proportioned such that the diameter is formed of 16 sheets.

Meštrović's statue was finished in 1913, immediately after and as a continuation, in concept and style, of the cycle of sculptures intended for his large-scale project for a shrine commemorating the Battle of Kosovo ("Temple of Vidovdan"), which includes representative sculptures such as Miloš Obilić and Marko Kraljević. Conceived as a colossal athletic male nude set up on a tall column, the monument symbolically represents the iconic figure of victory. In iconographic terms, the personification of the triumph of a victorious nation can be traced back to classical antiquity and its mythic hero Hercules.

The iconographic representation of Phosop is of a beautiful woman wearing full jewelry and a red or green dress. She is in the sitting or standing position holding a harvested rice sheaf on her right shoulder,Po Sop but sometimes also resting on her arm.ศาลแม่โพสพริมคลองบางพรม: หลักฐานทุ่งนาฝั่งธนฯ The recent iconography of this goddess is based on the devī of Hinduism but its origins are local and more ancient.Phya Anuman Rajadhon, Essays on Thai Folklore In certain locations a young village woman may dress as Phosop during local rice harvest festivals and celebrations.

The given notname usually depends on the artist's location, the most distinctive feature of their work, or the theme or iconographic element they are best associated with. Some notnames created based on a single artwork, called namepiece. Well known examples include the Master of the Embroidered Foliage (active c. 1480 to c. 1510) so named after his distinctive way of painting grass and trees,Nash, 22 the Master of the Life of the Virgin (active c. 1463 to c. 1490) and the Master of the Legend of the Magdalen (active c. 1483 – c.

So named after the Puuc hills in which this style developed and flourished during the latter portion of the Late Classic and throughout the Terminal Classic in the northern Maya lowlands, Puuc architecture consists of veneer facing stones applied to a concrete core. Two façades were typically built, partitioned by a ridge of stone. The blank lower façade is formed by flat cut stones and punctuated by doorways. The upper partition is richly decorated with repeating geometric patterns and iconographic elements, especially the distinctive curved-nosed Chaac masks.

A 5th-century marble Ganesha found in Gardez, Afghanistan, and once displayed at Dargah Pir Rattan Nath, Kabul (present location unknown). The inscription says that this "great and beautiful image of " was consecrated by the Shahi King Khingala.For photograph of statue and details of inscription, see: Dhavalikar, M.K., ": Myth and Reality", in: . Ganesha appeared in his classic form as a clearly- recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries CE. Some of the earliest known Ganesha images include two images found in eastern Afghanistan.

Nickell has investigated religious artifacts and claimed phenomena. Beginning in 1982 with his book Inquest on the Shroud of Turin: Latest Scientific Findings, Nickell demonstrates his research model of collecting evidence and following that evidence to a sustainable conclusion. He updated the book in 1998 with more recent historical, iconographic, forensic, physical and chemical evidence, with special explanations of the radiocarbon dating process. In his 1993 book, Looking for a Miracle: Weeping Icons, Relics, Stigmata, Visions and Healing Cures, updated in 1998, Nickell analyzes miracles claimed by various religions.

The Battle of Alexander at Issus by Albrecht Altdorfer, 1529. (Alte Pinakothek, Munich.) No prototypes for the painting are known in Sweden, and while the painting is occasionally associated with the Danube school, much about its stylistic and iconographic history remains to be investigated. A possible stylistic prototype is the illustrated Bible of Erhard Altdorfer (brother of the more famous Albrecht Altdorfer). Begun in 1530, it was inspired by the works of Cranach and Dürer, but also renewed the genre by combining commonplace details with an undertone of approaching disaster.

How do these representations of a familiar scene in the life of the community, either as a graphic image or a sculpture, serve any purpose other than to decorate? Here we come to the historic purpose of representational objects of folk art, now perhaps obsolete, but originally the function of these art forms. Kubler formulated this succinctly: “Sculpture and painting convey distinct messages… These communications or iconographic themes make the utilitarian and rational substructure of any aesthetic achievement. Thus structure, technique, and iconography all belong to the non-artistic underpinnings” of these objects.

1978), p.32f. Where local cult venerated figures such as the sacrificial virgin Iphigeneia, an archaic local nymphe has been reduced to a mortal figure of legend. Other isolated female figures represented priestess-initiators of a local cult. Iconographic and epigraphal evidence marshalled by Larson combine to depict heroines as similar in kind to heroes, but in androcentric Greek culture,"Heroine cults fit well into our modern view of ancient Greek culture as firmly androcentric, though not as androcentric as some would have had us believe" (Larson 1995:144).

A Dionisius version of the Theotokos of Smolensk (c. 1500) 12th-century plaque found in Torcello Cathedral; a full-length figure like the original in Constantinople A Hodegetria, or Virgin Hodegetria, is an iconographic depiction of the Theotokos (Virgin Mary) holding the Child Jesus at her side while pointing to him as the source of salvation for humankind. The Virgin's head usually inclines towards the child, who raises his hand in a blessing gesture. In the Western Church this type of icon is sometimes called Our Lady of the Way.

He was given his first painting lessons by fellow bullfighter Jose Jimenez. His traditional self- developed folk art style images depicted pastoral colorful scenes of Maximilian era Mexico painted on white backgrounds. His work can be divided into three categories: a vice-regal era with European and Creole noblemen mixed with Indians; stylized landscapes of Patscuaro, Acapulco or the Canal of Santa Anita; and his iconographic Mexican Virgins painted in tones of blue, purple, and gold often encrusted with mother of pearl. Corona moved to Tucson in 1950.

The scenes representing the human labours have been moved to the background, giving prominence to the religious scenes. This was a really innovative iconographic concept for the period. Some of the drawings represent several parts of a story in a single composition.Emblemata evangelica ad XII signa codestica Hans Bol and Adriaen Collaert, 1584 and 1585 at Cultural heritage Wooded landscape with buildings along a lake In 1582 Hans Bol and his workshop illuminated the Book of Hours of the Duke of Alençon, who was proclaimed Duke of Brabant in that year.

Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.

The patron who commissioned it and the craftsmen who worked on the manuscript have not been identified. The style of Greek script used in the manuscript indicates that it was probably written in Byzantine- ruled southern Italy, where ancient Greek cultural traditions remained strong, although it is not known exactly where it was produced. The codex derives independentlyDavid H. Wright, "Traditio and Inventio in Iconographic Transmission," Eighth Byzantine Studies Conference, Chicago 1982 from the same model as the Vienna Dioscurides, which was created ca. 512 for a Byzantine princess, but differs from it significantly.

Palace of the Conquest, Trujillo, Spain After returning from Peru extremely wealthy, the Pizarro family erected a plateresque-style palace on the corner of the Plaza Mayor in Trujillo. Francisca Pizarro Yupanqui and her uncle/husband Hernando Pizarro ordered the building of the palace; it features busts of them and others. It instantly became a recognizable symbol of the plaza. The opulent palace is structured in four stands, giving it the significance of the coat of arms of the Pizarro family, which is situated at one of its corner balconies displaying its iconographic content.

The Hall of the Saints or the Sala dei Santi is a room in the Borgia Apartment of the Vatican Palace, frescoed by the Italian Renaissance artist, Pinturicchio. It dates to 1491–1494 and was commissioned by Pope Alexander VI. The frescoes depict scenes from the lives of the saints. The ceiling fresco, which depicts myths related to the ancient Egyptian gods Osiris and Isis, has been the subject of much scholarly attention. The iconographic program reflects the humanistic interests of Alexander and was likely designed by his secretary, Giovanni Annio of Viterbo.

His contributions to the research, documentation and understanding of the visual arts in America were wide-ranging—from the earliest crafts of the Native Americans to the abstract expressionists. In the 1920s, his early endorsement of American folk art as well as the early American modernists introduced their work to a larger public through exhibitions, catalogues and criticism. During his tenure of the WPA, his oversight of the Index of American Design established a greater understanding of the variety and quality of American iconographic imagery. Cahill proved to be an imaginative, sensitive and skillful administrator.

The Udayagiri Varaha panel is an example of an elaborate depiction of Varaha legend. It presents the goddess earth as the dangling woman, the hero as the colossal giant. His success is cheered by a galaxy of the divine as well as human characters valued and revered in the 4th-century. Their iconography of individual characters is found in Hindu texts.Debala Mitra, ’Varāha Cave at Udayagiri – An Iconographic Study’, Journal of the Asiatic Society 5 (1963): 99–103; J. C. Harle, Gupta Sculpture (Oxford, 1974): figures 8–17.

Varaha Avatar of Vishnu kills Hiranyakshan and the Devas shower flowers from the heaven The Hindu legend has roots in the Vedic literature such as Taittariya Samhita and Shatapatha Brahmana, and is found in many post-Vedic texts.Debala Mitra, ’Varāha Cave at Udayagiri – An Iconographic Study’, Journal of the Asiatic Society 5 (1963): 99-103; J. C. Harle, Gupta Sculpture (Oxford, 1974): figures 8-17. These legends depict goddess earth (Bhudevi, Prithivi) in an existential crisis where neither she nor the life she supports can survive. She is drowning and overwhelmed in the cosmic ocean.

Arms of monk and priest Prosper Guéranger (1805–1875)p. 309 of "Armorial des prélats Français du XIXème siècle" In 1987, following the adoption of the flag by the EC, Arsène Heitz (1908–1989), one of the designers who had submitted proposals for the flag's design, suggested a religious inspiration for it. He claimed that the circle of stars was based on the iconographic tradition of showing the Blessed Virgin Mary as the Woman of the Apocalypse, wearing a "crown of twelve stars".Carlo Curti Gialdino, I Simboli dell'Unione europea, Bandiera – Inno – Motto – Moneta – Giornata.

Durga herself is viewed as the "Self" within and the divine mother of all creation. She has been revered by warriors, blessing their new weapons. Durga iconography has been flexible in the Hindu traditions, where for example some intellectuals place a pen or other writing implements in her hand since they consider their stylus as their weapon. Archeological discoveries suggest that these iconographic features of Durga became common throughout India by about the 4th century CE, states David Kinsley – a professor of religious studies specialising on Hindu goddesses.

Central Italian flagellant confraternities evolved and emerged from Central Italian confraternities that originated in the tenth century. The members of these original confraternities were lay persons (usually men, but sometimes women) who were devoted to religious life. These groups promoted religious life but were independent of the church and offered an alternative form of service for those church members who did not want to commit themselves to the strict behaviors of monastic or convent life.Fenley, Laura. Confraternal Mercy and Federico Barocci’s Madonna Del Popolo: An Iconographic Study p.

Serlio also does not address the wooden roof that would have transformed the courtyard into a large central hall. Also, the building was not a perfect square, but a rectangle as shown by the sparse but iconographic later documentation. Inside the villa were loggias on two floors and frescos by the most important artists of the day, with the sovereign's quests emphasized among the many paintings by artists Donzello and his brother Ippolito, each chronicling episodes of Alfonso's skirmishes against the warring barons of a few years earlier.

Yet this remembrance of Christ's Passion is essential to Desiderio's iconographic program. The body of Christ forms the base upon which his spiritual body (in the form of the Sacrament)is contained and above which the Benediction is given. Whatever its first location, the tabernacle was removed from space in 1677, dismembered and reassembled for use in the Neroni family chapel in the right transept. For the Neroni, the sculptural components of the tabernacle were recomposed, with the flanking candalabra angels and placed in reverse outward facing positions.

These approaches explore the possible beginnings of sound production by seeking the earliest prerequisites in the evolution of mankind for music making and musical 'understanding'. At the other end of the continuum, newly published evidence for musical notations and theoretical writings, or new literary and iconographic sources relevant to ancient music, can add to our understanding of mostly vanished music cultures. The observation and integration of ethnographic analogies in recent or contemporary societies may also help us discover long lasting traditions in making music which are comparable to the silent past.

An old Dadhivaman deity in Kendrapara, Odisha. Shrila Bhakti Vinod Thakur's great forefather Krishnanada started worshipping this deity in mid-14th century AD. The Vaishnava origin theories rely on the iconographic details and the typical presence of the triad of deities, something that Buddhist, Jaina and tribal origins theories have difficulty in coherently explaining. The colors, state the scholars of the Vaishnava origin theory, link to black-colored Krishna and white-colored Balarama. They add that the goddess originally was Ekanamsa (Durga of Shaiva-Shakti tradition, sister of Krishna through his foster family).

Though part of a broader tradition in Buddhist art and literature across Asia of depicting Śākyamuni during his years of asceticism, the story of Shussan Shaka in particular is unique to Zen. Typically, Zen spurned iconographic depictions of Buddhist deities as seen in the art of other sects. However, early Zen placed great emphasis on the centrality of Śākyamuni Buddha, whose role had formerly been downplayed. This emphasis was tied to the task of establishing an authoritative Zen patriarchal lineage traceable all the way back to the Historical Buddha himself.

According to biblical historian Amnon Shiloah, dance was directly associated with music and was an important aspect of various events, although the actual dance movements are nowhere described in detail. There is meager evidence about dance when compared with a wider variety found in Egypt. However, there are many biblical descriptions of occasions that inspired dancing in biblical times. In the Bible, Mishnah, and Talmud, dance is referred to in various contexts, and in Megido, the Negev, and other sites in Israel, recently found iconographic remnants show dancing figures.

The film landed in a controversy prior to its release in January 2016, after groups such as Rashtriya Basavadal and Basava Peetha staged demonstrations in Dharwad calling for its ban. They alleged that the film wrongly depicts the ritual of wearing miniaturized iconographic form of the deity Shiva, the Jyotirlinga. They claimed that, instead, Ishtalinga should have been depicted. The film shows the worship of Lingam performed placing it on the devotee's right hand, when they claimed that history states that it was done by keeping it in the left hand.

In Swedish they are sometimes referred to as kalkmålningar, literally "lime paintings", since they were often painted using lime as the binding medium for the paint. The earliest church murals in Sweden date from the first decades of the 12th century and are Romanesque in style. The majority of these are found in the southern part of Sweden, where they were commissioned by members of the royalty and nobility of the time. They all have certain iconographic similarities, and for the most part, show stylistic influences from contemporary art in what is now Germany.

In this sacred dance, Moheyan is generally depicted as of ample girth goaded by children.An iconographic thangka depiction of Moheyan is held in the SAMA collection and may be seen here (accessed: January 14, 2008) Chöd is a product of both the Indian and Chinese transmissions of Buddhism into the Himalaya For a discussion of the Dunhuang fulcrum of the entwined relationship of Chinese and Indian Buddhism refer van Schaik and Dalton (2004).van Schaik, Sam and Dalton, Jacob (2004). "Where Chan and Tantra Meet: Buddhist Syncretism in Dunhuang" in Whitfield, Susan (ed) (2004).

It was part of the artistic loot taken to Paris under the terms of the Treaty of Tolentino (1797) and remained in Paris 1800-15, when it was returned to Rome after the fall of Napoleon. In part due to its hair being unlike that in better-attested Antinous-types, which closely follow a very few iconographic models, it is now consideredE.g. in Wolfgang Helbig, Führer durch die öffentlichen Sammlungen klassischer Altertümen in Rom 1963-72, II:230f. to be a Roman Imperial era copy of an early 4th century BC Greek statue of Hermes.

Nevertheless, when the Greeks referred to Egyptian gods by the names of their own gods (a practice called interpretatio graeca), they sometimes called Hathor Aphrodite. Traits of Isis, Hathor, and Aphrodite were all combined to justify the treatment of Ptolemaic queens as goddesses. Thus, the poet Callimachus alluded to the myth of Hathor's lost lock of hair when praising Berenice II for sacrificing her own hair to Aphrodite, and iconographic traits that Isis and Hathor shared, such as the bovine horns and vulture headdress, appeared on images portraying Ptolemaic queens as Aphrodite.

The Cathedral, dedicated to Saint Mary, was built in Romanesque style during the years 1071-1105, with Gothic-style additions in the mid-13th century. The crypt contains the tombs of St Magnus of Anagni, the patron of the city, and of St Secundina of Anagni. The frescoes covering all the walls and ceiling are among the best preserved examples of Romanesque/Byzantine art in Italy, and form a single iconographic scheme, which includes natural philosophy, saints, the Apocalypse, and the Old Testament Ark of the Covenant.J. Ainaud, Romanesque Painting.

The Barros stele giant size represents the main difference to the smaller stelae found in other parts of northern Spain. In addition to the Estela de Barros, we can see another larger, fragmented stele in the Parque de las Estelas. Other found stelae are exhibited in the Regional Museum of Prehistory and Archaeology of Cantabria in Santander. There are two stelae found in Lombera, another found in Zurita, showing the iconographic decoration of a vulture pouncing on a fallen warrior, and another from near the Cantabrian castrum of Espina del Gallego.

Hildreth Meière (1892-1961) was an American artist and designer active in the first half of the twentieth century, especially in connection with Art Deco architecture. Among her extensive works are the dynamic roundels of Dance, Drama, and Song at Radio City Music Hall, the Creation cycle and stained-glass windows at St. Bartholomew's Episcopal Church (Manhattan), the iconographic suites at the Nebraska State Capitol, and the National Academy of Sciences.Catherine Coleman Brawer and Kathleen Murphy Skolnik, The Art Deco Murals of Hildreth Meiere: Andrea Monfried Editions, 2014.

Tamil depiction of Kali. Classic depictions of Kali share several features, as follows: Kali's most common four armed iconographic image shows each hand carrying variously a Khadga (crescent-shaped sword or a giant sickle), a trishul (trident), a severed head, and a bowl or skull-cup (kapāla) collecting the blood of the severed head. Two of these hands (usually the left) are holding a sword and a severed head. The sword signifies divine knowledge and the human head signifies human ego which must be slain by divine knowledge in order to attain moksha.

He is often depicted as slaying a beast with a spear, although this feature is sometime absent. Initially considered (and later abandoned) by Konstantin Josef Jireček and Karel Škorpil, the assumption was gradually rejected because of differences in the iconographic details, and the relation with the animals (there's no dog). The relief probably incorporates both autochthonous Thracian and the newly arrived Bulgars cultural cults. The monumental size, iconography and the details (stirrup, halo, skull-cup, bird etc.) is generally part of the Bulgar tradition, while the rightward direction and the lion of the Thracian tradition.

Narmer Palette with confronted lionesses, displayed in iconographic registers - Ancient Egypt c. 3,000 BC The Narmer Palette, used to mix cosmetics in the receptacle on one side, has two confronted felines, sometimes called serpopards (because of their exaggerated long necks which look snakelike to some researchers) forming the receptacle. Close examination of the animals with the exaggerated, long necks supports identification as lionesses. The entire theme of the Narmer Palette, is about the pharaoh of the newly unified Ancient Egypt represented in two scenes, (palette obverse, palette reverse).

The work carried out by Esplá, and his importance as a composer, revived the theory of the play's origin in the 13th century. Since the end of the 19th century when historians first arrived at Elche and studied the play, the date of its composition was given a terminus ante quem sometime around the turn of 15th century. At present, most scholars from multiple disciplines (literary, theatrical, musical, linguistics, iconographic, etc.) agree to it composition in the latter half of the 15th century, without emphasizing any precedents in existence in the city.

This wall was built from carefully dressed waste stone, which gave it enough solidity for its role as a "buttress". In the process of building this wall, they destroyed the north chapel, reusing the stone in the wall, which indicates that the buttress wall was built as a result of events subsequent to Pepi II's funeral. It is because of this reuse of the stone that it has been possible to recover all the reliefs which initially covered the walls of the north chapel. Their iconographic programme was reconstructed by Gustave Jéquier.

There was competition to provide a tremendous experience which led to the extravagant era of the Picture Palace. The term Picture Palace is used to describe the opulent style of theatre that seated thousands. The iconographic features of the exterior of the theatre were designed to make the front of the theatre a "show window" to invite customers to come see a performance. With fancy lobbies, uniformed ushers, musical accompaniments, and unique architecture these picture palaces were a unique draw that allowed a place where working and middle-class patrons could find luxury.

Jean Malo- Renault collected a copious iconographic documentation towards a thesis on the religious architecture of Brittany. More broadly he was interested in Breton costume and popular arts. He is known as the author of a vast retrospective bibliography of Brittany for which he analysed printed sources and periodicals from the period 1480 to 1960, which is preserved (150 000 handwritten records) in the Bibliothèque de Rennes Méropole and available on microfiche since 1988. In addition to the retrospective Bibliography of Brittany, he publishes Les pseudonymes des bretons (16th - 20th centuries) in 1987.

The equestrian figures from episodes from the region's turbulent history incorporate representations of the channeling of ase to safeguard the conquering hero. Maternity figures invoke ase for increasing procreative abilities and fertility, while references to medicine also express the dependence of personal well-being on the judicial channeling of ase. Perhaps, then, the iconographic clue to the meaning of Epa masks is not to be found in their elaborate superstructures, but in the crude pot helmet itself as a manifestation of the efficacy of ase for communal and personal well-being.

Depictions of "Christ militant" trampling a serpent is found in Christian art of the late 5th century. Iconography of the horseman with spear overcoming evil becomes current in the early medieval period. Iconographic representations of St Theodore as dragon-slayer are dated to as early as the 7th century, certainly by the early 10th century (the oldest certain depiction of Theodore killing a dragon is at Aghtamar, dated c. 920). Theodore is reported as having destroyed a dragon near Euchaita in a legend not younger than the late 9th century.

Vajravārāhī is one of the most popular female Tantric deities in all traditions of Tibetan Buddhism. Although there are several forms, the basic iconography is that she has one face, (usually) two hands and two legs, is usually red in colour, and standing in a dancing posture on a human corpse. The distinguishing iconographic attribute is a sow head (varahi) placed either on the right side of her head or on the top of her head. Because of this sow's head, sometimes she is called the 'two-faced' Vajrayogini (shal nyi ma).

The Nataraja temple has a pre-13th-century Surya shrine. The image is unusual as it depicts a three headed Surya same as Brahma, Shiva and Vishnu, with eight hands holding iconographic items of these deities, along with two lotuses in a pair of hands in front, accompanied by two small female figures possibly Usha and Pratyusha, standing on a chariot drawn by seven horses and Aruna as charioteer. The temple also has a significant shrine for Ganesha in the southwest corner and a Subrahmanyar shrine in the northwest corner of the third courtyard.

Schiller, Gertrud, Iconography of Cristian Art, Volume II, (1972) London, , pp.144-145 The iconographic tradition of Jesus in a colobium dates to 586 in a manuscript of the Syriac Gospels called the Rabbula Gospels, written by the monk Rabbula somewhere in Mesopotamia. It is thought that the tradition of depicting Christ in such costume was brought to Catalonia by artisans from Pisa who arrived in 1114 to help Ramon Berenguer III, Count of Barcelona in his conquest of the Balearic Islands.PIJOÁN, José, (1927), Historia general del arte, Volumen IX, colección Summa Artis.

Body paint, tattoos, and scarification were all used in different ways by the Mayan to signify important events in one's life, as well as to symbolize differing class distinctions.Geller, Pamela L. Transforming bodies, transforming identities: A consideration of pre-Columbian Maya corporeal beliefs and practices. (2004): 371. As evidence of skin modification from human remains can not be studied, the evidence for tattooing, scarification, and body paint among the Maya comes from iconographic images such as pottery and murals, artifacts such as tools and vessels used for storing pigment, as well as ethnohistoric accounts.

The authenticity was also questioned on the basis of technical virtuosity compared to the technical limitations of pre-Columbian artisans. According to Jane MacLaren Walsh, "the essential nature of the sculpture is almost completely anomalous with regard to the accepted canon of Mexica art, and does not in fact resemble any other Mesoamerican art form" and "the choice of stone, the complicated carving in the round, the birthing position, the facial expression of the mother, the somewhat grotesque realism, the lack of iconographic detail all point to a highly idiosyncratic work".

One aspect about the use or meaning of the trophy heads, is that all can agree that in whatever situation they were acquired in, it was religious/ritualistic in nature (Silverman 1993: 221). Whether it be the head of an enemy in battle or ritual battle, headtaking was done for reasons of acquiring power, status, or safety from the enemy's soul. There is also iconographic evidence that suggests that after the abandonment of Cahuachi, that as headhunting became more "secularized," the elite class shifted from being made up of priests and ceremonial figureheads, to being successful headhunters (Silverman 1993:223).

They contributed richly to the political, religious and economic institutions of Tibet in the 11th century through the building of Tabo Monastery; this is documented in the writing on the walls of Tabo. The iconographic depictions are reported to be of 1042 and later, consisting of paintings, sculptures, inscriptions and extensive wall texts. The translator Rinchen Zangpo, a Tibetan lama from western Tibet, who was chiefly responsible for translating Sanskrit Buddhist texts into Tibetan, was the preceptor to King Yeshe-Ö who helped in the missionary activities. Several Indian pundits visited Tabo to learn the Tibetan language.

The Mocking of Human Follies Frans Verbeeck or Frans Verbeeck the Elder (c. 1510 – 24 July 1570, Mechelen) was a Flemish painter and draughtsman to whom have been attributed a number of works depicting fantastical and grotesque scenes carrying a moralizing intent. He was a member of an important family of artists operating a large workshop with various branches in Mechelen. As it is not always possible to attribute a particular artwork to one or the other family member due to compositional, stylistic, and iconographic similarities, it has been suggested that the works should be attributed to the 'Verbeeck group'.

108–111 (109) Its size was reduced and the now strongly raked foremast made it more appear like a bowsprit sail. While most of the evidence is iconographic, the existence of foresails can also archaeologically be deduced from slots in foremast-feets located too close to the prow for a mainsail.Beltrame, Carlo (1996): "Archaeological Evidence of the Foremast on Ancient Sailing Ships", The International Journal of Nautical Archaeology, Vol. 25, No. 2, pp. 135–139 (135) Artemon, along with mainsail and topsail, developed into the standard rig of seagoing vessels in imperial times, complemented by a mizzen on the largest freighters.

Earlier works of Manimala deal primarily with mythological themes, but have an inherent rawness in the handling of the subjects. The wrath of gods against illicit sexual unions, men and women in various stages of nakedness as they are subjected to hell's torturous routines, fearsome demons and large slithering snakes crowd her canvas. Over time, her artistic oeuvre expanded to include more colors, iconographic variations and themes. From pressing social issues of the world at large to belief systems that hold her social fabric together - she has explored a large variety of subject matter in a career spanning more than a decade.

The central belongs to the Emperor Charles V, the left is that of Aragon, and that of Tarazona is the right one. All this decoration represents an iconographic program of imperial exaltation would find its justification in the death of the emperor coincided with the start of construction of the building. However, the other reliefs on the facade of the main floor look different in terms of program and dating. First, it distinguish two allegorical figures representing Justice and Wisdom located one on each side of the main door, and the three Heraclean characters that refer to the founding of Tarazona.

For nearly two decades conducting historical research, iconographic and documentary, in archives in Italy, USA, Germany, England, France about Sicily and especially about the city of Palermo during the years 1930 and 1940, with insights on the period that saw heavily involved in the events of World War II. The daily life of the population in those years and all the world created by the atypical war that revolved around it, has remained largely forgotten, but it is still an integral part of the past, terrible and difficult years, are the key to understanding the in which we live.

The centrale nave and the altar Behind its unassuming facade the church is built according to the typical basilica plan, with a single nave and two side aisles. The original columns were replaced in the 15th century by octagonal pillars, and the nave is characterized by the large fresco decorations commissioned by Cardinal Baronio. The cardinal in his iconographic scheme timed for the 1600 Jubilee emphasized the role of the Roman martyrs during the early centuries of Christianity. The execution of the frescoes was entrusted to a minor painter, generally thought to be Niccolò Circignani, called "Pomarancio".

The monastery was once surrounded by a high stone wall with two gates. The completion of the painting of the main parts of the church can be indirectly dated to between 1263 and 1270. In Sopocani a decorative plan was carried out which was formed throughout the thirteenth century - in the chancel there are liturgical scenes, in the nave Christ's salvation work is shown through a cycle of the Great Feasts, in the narthex the Old Testament, dogmatic and eschatological themes are presented. Through the iconographic portraits of the Nemanjic family and through historical scenes Simeon Nemanja and Saint Sava.

Iconographic program of the Bernward Doors, in German The Bernward Doors depict scenes from the Book of Genesis (left door) arranged in parallel to scenes from the Gospels (right door). The scenes are organized based on the principle that Adam and Christ mirror each other - with Christ's sacrificial death redeeming Adam's sin. The left door depicts the increasing estrangement of humanity from God from top to bottom: the Creation, the Fall, Cain's murder of Abel. The right door shows the redemptive work of Christ from bottom to top: the Annunciation and Nativity, the Passion, the Resurrection).

The plan and decoration of Fatimid mosques reflect Shiite doctrine and that the mosques were often used for royal ceremonial purposes. The characteristic architectural styles of Fatimid mosques include portals that protrude from the wall, domes above mihrabs and qiblas, porches and arcades with keel-shaped arches supported by a series of columns, façade ornamentation with iconographic inscriptions and stucco decorations. The mosques followed the hypostyle plan, where a central courtyard was surrounded by arcades with their roofs usually supported by keel arches, initially resting on columns with Corinthian capitals. The arches held inscription bands, a style that is unique to Fatimid architecture.

The Vienna 2554 frontispiece is famous and has often been reproduced. This frontispiece shows God`s figure bent while in the work of creation. “There is no close iconographic antecedent for this image.” In this image God is utilizing a huge pair of compasses, which are carefully balanced so as to draw and define. God’s left hand seems to be in the process of putting the disk that is the cosmos into motion. In a broadly read study of Gothic architecture by Otto Von Simpson, this image is titled “The Creator as Architect,” this theme has been important from Plato and onward.

The feathers on angels in art can often to be seen to stop abruptly at the neck, wrists and ankles, sometimes with a visible hemline, reflecting these originals.As for example on the Holy Thorn Reliquary; Tait 43 Mary Magdalene's hair suit is another iconographic feature, with a background in hagiographic legend, whose depiction apparently borrows from religious drama. Historians of English churches tend to refer to the feather tights style as 15th century, and by implication essentially English,Anderson (1964), 167-168 but it can be seen in several major late medieval European works from the late 14th to early 16th centuries.

The buildings of Chichen Itza show a large number of architectural and iconographic elements that some historians have called Mexicanized. The influence of cultures from central Mexico, mixed with the Puuc style of the upper peninsula, is visible in its Classic Maya architecture. The presence of these elements from the cultures of the Mexican Plateau was conjectured recently to have been a result of a mass migration to, or conquest of, the Mayan city by Toltec groups. However, recent studies suggest that they may have been the cultural expression of a prestigious and widespread political system during the Early Postclassic in Mesoamerica.

In the inside, the figures of the frieze survived unfortunately at a very small scale and with high fragmentation. They allegedly portrayed labors, either by Hercules or Theseus. Despite their fragmentary nature, the architectural reliefs on the Dome of Delphi reveal the great skill of their creators, as regards both the treatment of materials – especially marble – and catching details with vitality and excellent anatomical accuracy. All these novel compounds with unexpected combinations in the iconographic tradition of the 4th century BC introduce an innovative artistic movement, resulting in a creative competition between the art of relief and sculpted plastic art.

The vision is preserved in a drawing by Matania for the journal The Sphere, of which the original is now in the Wellcome Library iconographic collection. Pennington Bickford's ambition was for the Bath to become one of London's most attractive historic monuments, and to bring both cultural cachet and much needed funds to St Clement Danes and its parish. Edward Foord, for his part, produced a series of pamphlets and newspaper articles arguing confidently for the Bath's Roman credentials and offering speculative reconstructions of its history, layout and workings.“Links with the Past” The Roman Bath in Strand Lane.

Saint Catherine of Alexandria with a wheel as her attribute Medieval hagiographies, such as the Legenda sanctorum, record that St. Catherine of Alexandria was sentenced to be executed on one of these devices for refusing to renounce her Christian belief, which thereafter became known as the Catherine wheel, also used as her iconographic attribute. It is said the wheel miraculously broke when she touched it; she was then beheaded. As an attribute it is usually shown broken in a small version beside her, or sometimes as a miniature she holds in her hand; the sword then used is also often shown.

There are 36 mosaics, 34 of them completely visible from the exterior and 2 of them visible on the north and south entrances of the main church visible from within the atrium enclosures. These religious mosaics are deemed to be iconographic in nature even though the techniques and materials used by the artist differ from the painted icon. All the mosaics were created by Marchione Studios of Canton, Ohio. Over the main entrance is an icon of Christ as the Head of the Church, and an icon of Saint Sava, the Patron Saint of the Church.

In the Magician's right hand is a scroll raised toward heaven, the sky or the element æther, while his left hand is pointing to the earth. This iconographic gesture has multiple meanings, but is endemic to the Mysteries and symbolizes divine immanence, the ability of the magician to bridge the gap between heaven and earth. On the table in front of the Magician the symbols of the four Tarot suits signify the Classical elements of earth, air, fire and water. Beneath are roses and lilies, the flos campi and lilium convallium, changed into garden flowers, to show the culture of aspiration.

The conversos had also started to honor Esther with iconographic art pieces they made in her image and held in their households. Moshe Orfali claims in his book The Fast of Esther in the Lore of the Marranos that the conversos lived with the perpetual feeling of sin since they had to act like Christians towards the outside world while deep inside were Jewish, and that the fast helped them to feel as they were making up for their sin to God."The Fast of Esther in the Lore of the Marranos" - Prof. Moshe Orfali; Dept.

A similar usage is to be found in the Central Congregational Church in Providence, Rhode Island, USA. It was not a little surprising to find the Fylfot on church bells in England. They were adopted by the Heathcote family in Derbyshire as part of their iconographic tradition in the 16th and 17th centuries. This is probably an example where pagan and Christian influence both have a part to play as the Fylfot was amongst other things the symbol of Thor, the Norse god of thunder and its use on bells suggests it was linked to the dispelling of thunder in popular mythology.

All this, deeply felt and > executed with careful study, is what I desire to do with my own labors, and > is what I want the artists and workers who form these workshops to do. Under his direction, Talleres de Arte fabricated work in a variety of styles: Mozarabic, Romanesque, Gothic, Baroque and Rococo. Granda sought inspiration for his artwork from the beginnings of Christian history to his own time. When describing the iconographic schemes in his work, he often justified them by the precedent of Christian antiquity, citing studies by the archaeologists Antonio Bosio, Giovanni Giustino Ciampini, Giovanni Caetano Bottari, Rev.

Personification of Italy on a 100 lire gold coin from 1912 Over the head of Italia turrita, a five- pointed star is usually seen shining radiant; an ancient secular symbol of Italy purported to protect the nation, known as Stella d'Italia ("Star of Italy"). Iconographic of the Italian unification, it was used as the crest of the armorial bearings of the Kingdom of Italy from 1870 to 1890 and is the dominant element in the modern day emblem of Italy adopted at the birth of the Italian Republic in 1948. The Stella d'Italia symbolizes the shining destiny of Italy.

" London: the British Museum (Arts and Humanities Research Council), p. 7. Accessed 2 October 2016.). "Other important contributions to scholarship included the publication of an extensive summary of gold glass scholarship under the entry ‘Fonds de coupes’ in Fernand Cabrol and Henri Leclercq’s comprehensive Dictionnaire d’archéologie chrétienne et de liturgie in 1923. Leclercq updated Vopel’s catalogue, recording 512 gold glasses considered to be genuine, and developed a typological series consisting of eleven iconographic subjects: biblical subjects; Christ and the saints; various legends; inscriptions; pagan deities; secular subjects; male portraits; female portraits; portraits of couples and families; animals; and Jewish symbols.

The Elsa and Paul Collaer Collection, housed in the Music Division of the Royal Library of Belgium, is the result of three decades of donations and purchases that began in 1972 with the collaboration of Paul Collaer himself. The collection contains some 300 books, 400 off-prints and magazines, 1,140 printed and handwritten scores, 5,000 letters, 650 concert programmes and 900 33 RPM and 78 RPM discs as well as manuscripts, iconographic documents, press-clippings, paintings and reel-to-reel tapes. The Collaer collection is an important source of information on the musician and on musical life in Belgium during the 20th century.

The Maison d'Ailleurs in Yverdon-les-Bains The Maison d'Ailleurs (translated as "House of Elsewhere") is a museum of science fiction, utopia and extraordinary journeys in Yverdon-les-Bains (Switzerland). It is a non-profit foundation functioning both as a public museum and a specialized research center. The archives of the museum contain around 70,000 documents related to science fiction or utopia (books, art pieces, toys, etc.), including some very old (as early as the sixteenth century) or unique pieces. The collections of the museum are used for iconographic purposes or research (literature, history of ideas, design, etc.).

The large reredos, hung in the sanctuary, is also the work of French. The ornamental beauty and shimmering luminosity of the textural surface of French’s paintings create a richness of meaning and visual impact. His emblematic use of recognisable iconographic symbols – including the Celtic Cross, circle, dome, serpent, bird and fish – together with a rich layering of paint and glazing, coalesce to form complex works of art of great depth and beauty. The Haileybury Chapel reredos exhibits French at his finest, and is one of the artistic highlights of the Chapel interior paying homage to French's unique reinterpretation of Mexican muralism.

The names of the pupils of Willem van den Broecke have not been recorded, but it is known he operated a large workshop in which he employed a significant number of pupils, many of whom came from his home town Mechelen. His work found a following among workshops in Mechelen and Antwerp, which created reliefs borrowing iconographic motives from van den Broecke. He operated his workshop as a skilled businessman, reproducing designs that were selling well, supplying other workshops with 'prefabricates' and selling finished works from his house De Liefde. Van den Broecke died in Antwerp.

The use of lute-like stringed instruments by Ukrainians dates back to 591. In that year, Byzantine Greek chronicles mention Bulgar warriors who travelled with lute-like instruments they called kitharas. There are iconographic depictions of lute-like instruments in the 11th-century frescoes of Saint Sophia's Cathedral, the capital of the vast medieval kingdom of Ruthenia. It is not known by what specific term these instruments were referred to in those early times, although it has been surmised that the lute-like instrument was referred to by the generic medieval Slavic term for a string instrument—"husli".

Gradually the zither–like bandura replaced the lute–like bandura by the middle of the 19th century. The invention of an instrument combining organological elements of lute and psaltery is sometimes credited to Francesco Landini, an Italian lutenist-composer during the trecento. Filippo Villani writes in his Liber de civitatis Florentiae, "...[Landini] invented a new sort of instrument, a cross between lute and psaltery, which he called the serena serenarum, an instrument that produces an exquisite sound when its strings are struck." Rare iconographic evidence (by artists such as Alessandro Magnasco) reveals that such instruments were still in use in Italy ca. 1700.

Depiction of the Sun with rays and with a face, a Western iconographic tradition which became current in the Early Modern period (ceiling of the Golden Cross Tavern, Linlithgow, c. 1700) The Sun, as the source of energy and light for life on Earth has been a central object in culture and religion since prehistory. Ritual solar worship has given rise to solar deities in theistic traditions throughout the world, and solar symbolism is ubiquitous. Apart from its immediate connection to light and warmth, the Sun is also important in timekeeping as the main indicator of the day and the year.

Machabeli, p. 6 stele, carrying a bas-relief, depicting Virgin Mary alongside the archangels Michael and Gabriel, with one of the earliest inscriptions in Georgian Asomtavruli script.Machabeli, p. 120 The upper part of the stele that is assumed to have been depiction of the Feast of the Ascension is broken and lost.Machabeli, p. 11 It has been dated from the 4th to the 5th century. The stele was discovered in 1985 in a small Church of the Virgin in highland village of Davati, Dusheti Municipality.Abramishvili, G & Aleksidze, Z. (1990), "A national motif in the iconographic programme depicted on the Davati Stela".

However, the style of expression developed over the years by Mutahi in Whispers is still best expressed in politics through humour, satire and the use of certain widely diffused iconographic imagery. In 2009, the Sunday Nation introduced another humour column, Staffroom Diary, written by a Mwalimu Andrew — which is today widely regarded as the best humour writing in Kenya after Whispers. It is a humorous story about the experiences of Mwalimu Andrew, a Primary school teacher in rural Kenya. The teacher also studies at Kenyatta University which enables him to write on humour both in the village and in town.

Carmen Miranda Museum (Museu Carmen Miranda), located in the Parque Brigadeiro Eduardo Gomes (Flamengo Park), is a museum established in homage to singer and actress Carmen Miranda and open to the public since 1976. The museum has been officially opened on the 21st anniversary of her death. The museum exhibits iconographic costumes, including her tall fruit hats and platform-heeled shoes, and artifacts belonging to Carmen, as well as many of her records and films. In the second half of 2015, the new headquarters for the Carmen Miranda Museum will be opened at Rio de Janeiro's new Museum of Image and Sound (MIS).

Revue archéologique, 1876 Iconographic representations of St Theodore as dragon-slayer are dated to as early as the 7th century, certainly by the early 10th century (the oldest certain depiction of Theodore killing a dragon is at Aghtamar, dated c. 920). Theodore is reported as having destroyed a dragon near Euchaita in a legend not younger than the late 9th century. The earliest image of St Theodore as a horseman (named in Latin) is from Vinica, North Macedonia and, if genuine, dates to the 6th or 7th century. Here, Theodore is not slaying a dragon, but holding a draco standard.

Some other works have been attributed to him or his workshop, but without being generally accepted.List from the Centre for the Study of fifteenth-century Painting in the Southern Netherlands and the Principality of Liège In particular six scenes (two panels are painted on both sides) from an altarpiece from Champmol, now equally divided between Antwerp and Baltimore, have often been attributed to him, although iconographic and stylistic details suggest a Mosan origin.Snyder, 72–73;One of the Baltimore panels – the first photo is the Annunciation – the Baptism of Christ is shown in the enlarged view. All the panels (bottom of page) .

Gold leaves are regularly applied to the face of the Mahamuni Buddha by male devotees. Consequent to the frequent application of gold leaves, the coating of gold (thickness ) has given a shapeless contour to the Mahamuni image. However, it is also noted that the right hand, crown and other iconographic characteristics of royalty are free of gold leaf covering, which gives an impression that these were later additions to the original image of the Mahamuni. In 1884, when the pagoda was burnt down, of gold was recovered from the site, which represents the continued historical veneration and perpetuation of the cult of Mahamuni.

The Antinous Mondragone is a 0.95 m high marble example of the iconographic type of the deified Antinous, of c. 130 AD.Antinous, the lover of Emperor Hadrian, drowned in the Nile that year. It can be identified as him from the striated eyebrows, full lips, sombre expression and the head's twist down and to the right (reminiscent of that of the Lemnian Athena), whilst its smooth skin and elaborate, centre-parted hair mirror those of Hellenistic images of Dionysus and Apollo. It formed part of a colossal acrolithic cult statue for the worship of Antinous as a god.

The exterior containing statues gives a rich allure that was architecturally somewhat conservative for its date, looking back towards the Villa Medici or the Casina Pio IV, and rather more Mannerist than Baroque. It offered a foretaste of the richly stuccoed and frescoed interiors, where the iconographic program set out to establish the antiquity of the Pamphili, a family then somewhat parvenu in Rome, with origins in Gubbio. Inside, Algardi provided further bas-reliefs and stucco framing for the heroic frescoes drawn from Roman history painted by Grimaldi. casino and the upper terraces; orange trees in pots punctuate its balustrades.

Nasrani Sthambams are giant open air stone crosses.name= "Menachery"Rock Crosses of Kerala, Article by George Menachery, 2000 The plinth of these crosses represents lotus petals and lotus flowers and has a square base. It also has a variety of iconographic motifs, including elephants, peacocks and various other animals to name a few.Rock objects in Kerala Churches, in George Menachery, Glimpses of Nazraney Heritage, SARAS, Ollur, 2005 These crosses are found in Puthenchira, Parappukkara, Veliyanad, Kalpparambu, Angamaly, Kanjoor, Malayattoor, Udayamperoor, Kuravilangad, Uzhavoor, Chungam, Kaduthuruthy, Muthalakodam, Muttuchira, Kudamaloor, Niranam, Arakuzha, Kothamangalam, Chengannur, Thumpamon, Chathannur and many other places.

In the Spanish period, only the nobility (such as the ') and the rich could afford to have Santo, due to their elaborate ornamentation and design. The procurement and maintenance of Santo is today still considered costly, with the most expensive type of Santo are ones made of ' (ivory). From a religious perspective, the practice of owning and maintaining ' images are often regarded as a mild Catechism for people, especially with regards to the iconographic attributes attached to specific images. A custodian or family of custodians of a ' are termed ' (female: ', plural '), which in modern Spanish means 'waiting staff'.

In 1463, likely in fear of the plague, Gozzoli left Florence for San Gimignano, where he executed some extensive works. Most prominent of these is his seventeen-panel fresco cycle on The Life of St Augustine, covering the entire apsidal chapel in the church of Sant'Agostino. In that same church Gozzoli also completed a composition of St. Sebastian Protecting the City from the Plague, in which he depicted St. Sebastian fully clothed and unhurt, thereby going against iconographic canon. In 1465, at the town's heart in the Collegiate Church of Santa Maria Assunta, Gozzoli furthermore painted a fresco of the Martyrdom of Sebastian.

But she featured in cycles on the Life of Alexander, and there was an increasing tendency in court art to depict Alexander as a proxy for the actual monarch, and to emphasize acts of generosity or mercy.Aghion I., Barbillon C., Lissarrague, F., Gods and Heroes of Classical Antiquity, Flammarion Iconographic Guides, pp. 30–31, 1996, Most depictions show her brought before Alexander, which might form part of a cycle illustrating his life.Hall, 12 This was the case in the cycle of frescos painted in the Palace of Fontainebleau in the 1540s by Francesco Primaticcio and his team.

Alexandr Ivanov, 1824 Origen's initial connection of the transfiguration with the resurrection continued to influence theological thought long thereafter. This connection continued to develop both within the theological and iconographic dimensions – which however, often influenced each other. Between the 6th and 9th centuries the iconography of the transfiguration in the East influenced the iconography of the resurrection, at times depicting various figures standing next to a glorified Christ. This was not only a view within the Eastern Church and in the West, most commentators in the Middle Ages considered the transfiguration a preview of the glorified body of Christ following his resurrection.

The suite were engraved as Divers desseins de decorations de pavillons inventez par Monsieur Le Brun... (undated, but ca 1680). The frescoed exteriors of the otherwise somewhat severe buildings created a richly Baroque ensemble of feigned sculptures against draperies and hangings, with vases on feigned sculptural therms against the piers— all in the somewhat eclectic Olympian symbolism that Le Brun and the King favoured everywhere at Versailles. The decor of the pavillon du Roi featured Apollo, the Sun King's iconographic persona, and Thetis. Other pavilions were dedicated to other Olympians, but also to Hercules, and to Victory, Fame and Abundance.

In the more recent times of postclassical pre-Columbian Mesoamerica, evidence for the practice of trepanation and an assortment of other cranial deformation techniques comes from a variety of sources, including physical cranial remains of burials, allusions in iconographic artworks and reports from the post-colonial period. Among New World societies trepanning is most commonly found in the Andean civilizations, such as pre-Incan cultures. For example, the Paracas culture Ica, situated in what is now known as Ica, located south of Lima. It has also been found in the Muisca Confederation (in modern-day Colombia) and the Inca Empire.

An engraving by Israël Silvestre, published ca. 1676, portrays a scene from Lully's work, and is probably the earliest iconographic representation of the hooped horn. Soon afterward the hooped trompe de chasse began appearing in ballet and opera orchestras in the Empire and German states. The intrada of a ballet by Johann Heinrich Schmelzer, performed in Linz on 15 November 1680, was played by violins and hunting horns together, according to the libretto (the music does not survive). Georg Bronner's opera Echo und Narcissus (1693) and Agostino Steffani’s opera I trionfi del fato (produced in 1695 in Hanover) also used horns.

Mythological events are depicted in several friezes, with animal friezes being shown in secondary locations. Several iconographic and technical details appear on this vase for the first time. Many are unique, such as the representation of a lowered mast of a sailing ship; others became part of the standard repertoire, such as people sitting with one leg behind the other, instead of with the traditional parallel positioning of the legs.on the François vase see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 37f. und Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 111f.

Stela 36 is a badly eroded monument on the west side of Plaza B.Kelly 1996, pp. 115, 118. Stela 41 was raised at the base of the access stairway of Temple 216 in the 8th century AD. The monument is missing its butt, and may not be in its original location; all four sides are sculpted in an Early Classic iconographic style. The front face of the stela has two masks facing to the left and an anthropomorphic figure wearing a bracelet of a type used from the end of the Late Preclassic through to the Early Classic.

The Ricardo Brennand Institute's Library focuses on history of Dutch Brazil and was projected to shelter more than 100,000 volumes. It currently houses over 62,000 items, such as books, pamphlets, magazines, newspapers, sheet music, phonograph records, photographs, iconographic albums and rare works. The library collection was formed through acquisitions of private ensembles belonging to Brazilian academics and researchers, such as José Antônio Gonçalves de Mello Neto, Edson Nery da Fonseca and Jaime Cavalcanti Diniz. The collection of rare books comprises items ranging from 16th to 20th century, with special emphasis in works about Brazil written by European travelers.

It was mainly a court architecture, and five stages are distinguished: a first period (737–791) from the reign of the king Fáfila to Vermudo I, a second stage comprises the reign of Alfonso II (791–842), entering a stage of stylistic definition. These two first stages receive the name of 'Pre-Ramirense'. The most important example is the church San Julián de los Prados in Oviedo, with an interesting volume system and a complex iconographic fresco program, related narrowly to the Roman mural paintings. Lattices and trifoliate windows in the apse appear for the first time at this stage.

It would be anachronistic for them to look at the documents of the "Charters of Freedom" and see America's modern "civic religion" because of "how much Americans have transformed very secular and temporal documents into sacred scriptures". The whole business of erecting a shrine for the worship of the Declaration of Independence strikes some academic critics looking from point of view of the 1776 or 1789 America as "idolatrous, and also curiously at odds with the values of the Revolution." It was suspicious of religious iconographic practices. At the beginning, in 1776, it was not meant to be that at all.

Location: Dutch Granary The department collects iconographic and photographic documents and materials related to the history of Bydgoszcz, together with militaria, phaleristics and handicraft items. Among the oldest objects dealing with Bydgoszcz past, one can highlight: the oldest town seal preserved from the 16th-17th century, a 17th century ceremonial sword of the Court of Justice, a unique silver insignia of a rifle brotherhood from the end of the 16th century and a 1590 bronze mortar cast in Gdańsk for the city oldest pharmacy Under the Golden Eagle (), still standing today at No.1 Old Market square.

Christ with Evangelists and angelsThe central arched opening, twice as wide as the other two, has a tympanum and is divided by a central column—a mullion or trumeau—containing a depiction of Saint James. Its lower part is formed by the bases of the columns and decorated with fantastic animals. The middle portion consists of columns adorned with statues of the Apostles on the right and Prophets on the left. The sculpture is intended to serve as an iconographic representation of various symbols derived from the Book of Revelation and the books of the Old Testament.

234 In his religious and devotional works, Key reacted to the objections raised by his Calvinist brethren who had launched the destruction of religious art on religious grounds during the Beeldenstorm of 1566. His solution was to abandon the iconographic tradition and to return to the language of the bible as a source. This led him to limit the iconography in his religious works to a minimum. An example of this is his Last Supper (Royal Museum of Fine Arts Antwerp, 1575, monogrammed) in which he re-invests this famous scene from the bible using the device of the portrait historié, i.e.

Rembrandt painted another depiction of Lucretia in 1664, displayed now at the National Gallery of Art. It follows the iconographic tradition which shows Lucretia clutching the dagger before she stabbed herself. Rembrandt was known to have used family and friends as models for his paintings; the 1664 Lucretia is in the likeness of his daughter-in-law Magdalena Van Loo. There has been speculation by Sir Lawrence Gowing that the 1666 figure is not Lucretia, but in fact another Roman heroine, Arria, who stabbed herself to encourage her husband, Paetus, who was sentenced to death by suicide..

On 9 March 2005, Crowe revealed to GQ magazine that Federal Bureau of Investigation (FBI) agents had approached him prior to the 73rd Academy Awards in March 2001, and told him that the terrorist group al-Qaeda wanted to kidnap him. Crowe recalled: "It was something to do with some recording picked up by a French policewoman, I think, in either Libya or Algiers... It was about taking iconographic Americans out of the picture as a sort of cultural destabilisation plan."O'Riordan, Bernard. How Bin Laden put the word out: get Russell Crowe, The Guardian, 9 March 2005.

Subsequently, he taught at Hunter College of the City University of New York. In 1975, he was appointed Benjamin Franklin Professor of the History of Art at the University of Pennsylvania, where he taught until retiring in 1991. From 1995 to 1996, Steinberg was a guest professor at Harvard University, delivering the Charles Eliot Norton lectures on "The Mute Image and the Meddling Text." Steinberg approached the history of art in a revolutionary manner, helping to move it from a dry consideration of factual details, documents, and iconographic symbols to a more dynamic understanding of meaning conveyed via various artistic choices.

The Chola period is also remarkable for its sculptures and bronzes. Among the existing specimens in museums around the world and in the temples of South India may be seen many fine figures of Shiva in various forms, such as Vishnu and his consort Lakshmi, and the Shaivite saints. Though conforming generally to the iconographic conventions established by long tradition, the sculptors worked with great freedom in the 11th and the 12th centuries to achieve a classic grace and grandeur. The best example of this can be seen in the form of Nataraja the Divine Dancer.

This paradigm was undermined, however, by the discovery that same year of Las Limas Monument 1, a greenstone sculpture that displayed not only a were-jaguar baby, but four other supernaturals, each of whom had a cleft head. Based on analyses of this sculpture, in 1976, Peter David Joralemon proposed definitions for eight Olmec supernaturals, each characterised by specific iconographic combinations. Monument 52 from San Lorenzo Tenochtitlan, showing a classic were-jaguar figure. The long deep groove carved into the back of this sculpture indicates it was part of the drainage system, associating the were-jaguar with rain and water.

It is a thematic ritual, as with the whole gathering, focusing on the lore and folk understandings of the god/dess being honoured. The Blót consists of offerings of foodstuffs, libations and objects which have ritual significance upon a stone. The Húsel feast consists of multiple courses, each in turn crafted to be both historical Germanic fare as well as thematically consistent with the auspice of that year's selected divinity. Within the temporary hall structure are to be found hanging banners representing the many groups present at the event as well as other adornments such as shields and iconographic draperies.

The present iconographic figure of Nang Kwak is an incarnation of Mae Po Sop (แม่โพสพ), the Siamese rice goddess.Pairin Jotisakulratana, Mae Po sop: The Rice Mother of Thailand However, unlike Mae Po Sop, Nang Kwak does not wear the harvested rice sheaf on her right shoulder. The iconography of Nang Kwak is based in the Hindu goddess Sri Lakshmi, the goddess of wealth, fortune and prosperity.Jonathan Lee, Fumitaka Matsuoka, Edmond Yee and Ronald Nakasone (2015), Asian American Religious Cultures, ABC, , page 892 The position of her hand in present-day iconography is similar to the Japanese Maneki Neko beckoning cat.

The Praileaitz Cave (Basque for Rock of the Monk cave) is located in the municipality of Deba (Gipuzkoa, Basque Country). Early in August 2006, various paleolithic cave paintings were found during an archaeological excavation - a non-figurative iconographic grouping made up of smaller groups of red dots, either isolated or forming a series. Researchers have surmised that the paintings were created c. 18,000 years BP. The cave also yielded an unusual set of portable art on pebbles, with abstract forms that, in one case, suggested to the researchers resembled the Venus figurines found elsewhere in Paleolithic Europe.

Xbalanque—the 'War Twin'—is more animal-like, in that he is distinguished by jaguar patches on his skin and by whiskers or a beard. Certain iconographic scenes are suggestive of episodes in the Popol Vuh. The Twins' shooting of a steeply descending bird (the 'Principal Bird Deity') with blowguns may represent the defeat of Vucub-Caquix, whereas the principal Maya maize god rising from the carapace of a turtle in the presence of the Hero Twins may visualize the resurrection of the Twins' father, Hun-Hunahpu. This second scene has also been explained differently, however.

Karolien de Clippel; Adriaen Brouwer, Portrait Painter: New Identifications and an Iconographic Novelty, in: Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 3/4 (2003), Stichting Nederlandse Kunsthistorische Publicaties, pp. 196–216 Gaspar de Gusman, Count of Olivares, after Rubens After Rubens' death in 1640, Pontius created reproductions after the work of, amongst others, Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck, Anselm van Hulle, Gerard Seghers, Gaspar de Crayer, Gonzales Coques, Frans Luycx, Titian and Velázquez. His pupils included Alexander Voet the Younger, Coenraet Waumans and Frans van den Wyngaerde.

Icons can also be augmented with iconographic motion - geometric manipulations applied to a graphical element over time, for example, a scale, rotation, or other deformation. One example is when application icons "wobble" in iOS to convey to the user they are able to be repositioned by being dragged. This is different from an icon with animated graphics, such as a Throbber. In contrast to static icons and icons with animated graphics, kinetic behaviors do not alter the visual content of an element (whereas fades, blurs, tints, and addition of new graphics, such as badges, exclusively alter an icon's pixels).

A slab with the inscription: To the Victims of Fascism 1941-1945, stands in a prominent place. It commemorates the 540 members of the Јеwish community in Zemun who lost their lives in the concentration camps at Јаsenovac and Stara Gradiška. A large number of tombstones of different stylistic and iconographic features have crucial significance of the chronological study of the cultural development of this part of the town, in the period of two centuries. It is beyond dispute that the graves of eminent personalities and the tombstones should be protected, particularly the graves of the families with no descendants.

The iconographic type Galaktotrophousa was a predecessor of the widely-spread images of Madonna with the infant Christ in Western Europe. Although it was canonical, that scene was rarely used in the Byzantine Iconography. In the 35 calendar scenes from the same church some of the characters were painted with contemporary garments. The large number of images of Jesus Christ in the Boyana Church makes an impression: Pantokrator (All-powerful); Emmanuel (Young man); Evergetes (Blessing); Mandilion; Keramidion and the unique image Christ Ancient of Days in which He is depicted as a white-bearded Old man.

The exhibition "Through a Glass Darkly," (1986) mounted for the first time at the Israel Museum, also exhibited Gershuni's aspirations toward the lofty. In addition to the text, the drawings display eschatological elements which were characteristic of Gershuni during this period, such as pentagrams, question marks, etc. An interesting iconographic element that appears in some of the paintings is the number "8." The use of this figure, which appeared earlier in the paintings of Arie Aroch as a symbol for infinity, appears in Gershuni's paintings as a symbol for aspiration toward the lofty and divine love, within a chaotic and "earthly" framework.

He decided to put Photographia Americana up for sale in 1885, and auctioned off his furniture and equipment to travel to Europe. Despite disposing of the entire Photographia Americana laboratory and auctioning off photographic machines, materials and equipment, Militão kept the textual and iconographic documentation of the business. The collection was maintained by the family of his eldest son, Luiz Gonzaga de Azevedo, with whom the photographer maintained close ties until his death. Probably influenced by the popularity of photographic albums featuring images of European cities, he produced similar albums focused on changes in the urban landscape of the city of São Paulo.

One of the centres has been identified as Sri Surya Pahar which bears the iconographic significance of the cult as well. Some archaeologists believe that a carved stone slab, now housed in the Sri Surya Temple and worshipped as ‘Surya’, may be the detached part that formed the ceiling of the temple of Surya. The central figure in the circular carvings of the slab has been identified as Prajapati, which is carved inside an inner circle while the surrounding outer circle is in the form of twelve lotus petals. Each lotus petal has the seated figure of an Aditya.

Goads in various guises are used as iconographic devices and may be seen in the 'elephant goad' or 'ankusha' (Sanskrit) in the hand of Ganesha, for example. According to the biblical passage Judges 3:31, Shamgar son of Anath killed six hundred Philistines with an ox goad. Tischler and McHenry (2006: p. 251) in discussing the biblical account of 'goad' hold: > In the early days, before Israel had its own metal industries, farmers had > to rely on the Philistines to sharpen their goads, as well as other metal > tools, the plowshares and mattocks, forks, and axes (1 Sam. 13:20).

Critics have argued the artist is merely "selling culture," a popular trend of cultural appropriation in today's global market. This work recalls popular initiatives such as Chicago's "Cows on Parade," albeit taking iconographic imagery from non-Western cultures and appropriating them [by Western audiences] into a commodity.CowParade Indira Johnson may have intended to use the Buddha image without religious connotation, but that is simply not possible just as the separation of a sculpture of Jesus Christ from Christianity is not possible. Depictions of the Buddha almost always include meaning or messages, identifiable by the mudra or even context within a jataka.

The arrowheads strongly indicated that Cahokia had extensive trade links in North America. The falcon warrior or "birdman" is a common motif in Mississippian culture, and is even represented by other finds at Cahokia in the form of 2 small stone tablets with avian-human imagery. This burial clearly had powerful iconographic significance to the peoples of Cahokia. After the burial the location was covered over with Mound 72sub1, a small platform mound oriented in an east/west axis with a ramp projecting to the east and another projecting west toward the summer solstice sunset post.

E-corpus makes known, catalogs, circulates and offers access to many millions of digital documents of all types: texts (manuscripts, archives, books, magazines) as well as iconographic heritage and cultural objects (photos, prints and engravings, sound recordings, videos, works of art). Its interface is available in several languages (French, English, Chinese, Arabic, Spanish, Catalan and Italian). The various partners — principally libraires, museums or archives — deposit their content on this basis. The description of the documents is hierarchical with metadata in the XML-EAD format, which can then be converted into other formats, notably into Dublin Core.

After coming in second in 1851, he won the Prix de Rome in 1855, then spent five years in Italy. His statues Mercury of 1861 and Jeanne d'Arc of 1870 (in which she was represented as a peasant girl) were his first big successes, and led to many commissions thereafter. He is also known for his medals, and led the French revival in the medal as an artistic form. An Officer of the French Legion of Honor,The Iconographic Encyclopaedia of the Arts and Scien: Sculpture and painting, 1887, page 138 Chapu died in Paris in 1891.

The church is renowned for its spectacular interior, which is dominated by a series of 12th century mosaics executed by Byzantine craftsmen. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral and in Cefalù Cathedral, although they were probably executed by a distinct atelier.Kitzinger, Mosaics, 261-62. The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin.

This was the uniform of a religious group called the Children of Mary, which, on account of her poverty, Soubirous was not permitted to join (although she was admitted after the apparitions). Her Aunt Bernarde was a long-time member. The statue that currently stands in the niche within the grotto of Massabielle was created by the Lyonnais sculptor Joseph- Hugues Fabisch in 1864. Although it has become an iconographic symbol of Our Lady of Lourdes, it depicts a figure which is not only older and taller than Soubirous's description, but also more in keeping with orthodox and traditional representations of the Virgin Mary.

Stratigraphic wells and radiocarbon dating at the Contlalco and Cerro Quemado-La Coquera sites in the Tlapa Valley, Guerrero, confirm massive platforms construction between 740 and 500 BCE. Olmec-style murals in the Oxotitlán, Juxtlahuaca and Cauadzidziqui caves and sculpture from the Teopantecuanitlan site, confirm a strong connection with Chalcatzingo in the Valley of Morelos. Iconographic representations similarities of these sites with the Pacific coast of Chiapas and Guatemala, depict closer relations than those suggested by the argument that they simply share a pan-mesoamerican tradition. Thus, the style resemblance between Tak´alik Ab´aj, Guatemala monument 1 and individuals depicted on Chalcatzingo relief 1-B-2 have been repeatedly established.

King Milutin also added a new main entrance gate which a chapel dedicated to Saint Nicholas built in, in addition to the newly erected monastery dining chamber. During his reign, several towers were also completed, the Milutin Tower, located between monastery's docks and its eastern wall, and the Hrussiya Tower situated on the shore. An unmatched iconographic work took place during Milutin's era starting from the main church, through the dining chamber, to the cemetery church. At that time the number of Serbian monks skyrocketed and monasticism flourished even further as Byzantine Emperor Andronikos II Palaiologos donated large pieces of land to the monastery's estate in Greece.

In addition to crystallizing a clear visual language, Lavie was careful to keep the discussion of his work on a formalist level. In interviews he consistently avoided all interpretation of his work outside the sphere of its "artistic language" in modernist form. In spite of clear iconographic imagery in his work, Lavie insisted that these images were of no historical importance. Furthermore, according to Lavie and Breitberg-Semel, the use of collages and other materials that lacked the "halo" of artistic approval, were meant to undercut and undermine the significance of the visual images.See: Sarit Shapiro, This Isn't a Cactus, It's a Geranium (The Israel Museum, Jerusalem, 2003), pp. 18-20.

This central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century.

As Alfonso elucidates in the opening section of the Libro de Juegos, the Libro de ajedrex (Book of chess) demonstrates the value of the intellect, the Libro de los dados (Book of dice) illustrates that chance has supremacy over pure intellect, and the Libro de las tablas (Book of tables) celebrates a conjoined use of both intellect and chance.Dwayne E. Carpenter, "‘Alea jacta est’: at the Gaming Table with Alfonso the Learned," in Journal of Medieval History 24, no. 4 (1998): 333–345, 336. Further, the iconographic linkage between chess and kingship in the Western tradition continued to evolve and became symbolic of kingly virtues, including skill, prudence, and intelligence.

Cellini retained definitive iconographic items like the faces of the two Apostles, but he carved them with a much greater attention to detail and artistic sensibility than had previously been in evidence. On the reverse of the seal he added several fleurs-de-lis, a heraldic device of the Farnese family, from which Pope Paul III descended. Since the late 18th century, the lead bulla has been replaced with a red ink stamp of Saints Peter and Paul with the reigning pope's name encircling the picture, though very formal letters, e. g. the bull of Pope John XXIII convoking the Second Vatican Council, still receive the leaden seal.

May Canaan be the slave of Shem." This verse has been used to justify racialized slavery, since "Christians and even some Muslims eventually identified Ham's descendents as black Africans". Anthony Pagden argued that "This reading of the Book of Genesis merged easily into a medieval iconographic tradition in which devils were always depicted as black. Later pseudo-scientific theories would be built around African skull shapes, dental structure, and body postures, in an attempt to find an unassailable argument—rooted in whatever the most persuasive contemporary idiom happened to be: law, theology, genealogy, or natural science—why one part of the human race should live in perpetual indebtedness to another.

The flag’s colouring refers directly to the preserved iconographic messages of the dynastic coat of arms of the Teschen Piasts and the 17th century banner of the Duchy of Teschen. From the end of the 13th century, the shield of the dukes of Teschen was a golden eagle facing left in a blue field. From the 15th century, it was a golden crowned eagle, although the image of the crowned eagle appeared in the 14th century on the castle tiles during the Duke Premysl I Noszak era. Some foreign sources, such as the Stockholm Codex Bergshammar, from 1430-1436, show the Teschen eagle with a red beak, tongue, and claws.

Although heavily influenced by architecture from Mesopotamia and Byzantium, the Fatimids introduced or developed unique features such as the four-centred keel arch and the squinch, connecting square interior volumes to the dome. Their mosques followed the hypostyle plan, where a central courtyard was surrounded by arcades with their roofs usually supported by keel arches, initially resting on columns with leafy Corinthian order capitals. They typically had features such as portals that protrude from the wall, domes above mihrabs and qiblas, and façade ornamentation with iconographic inscriptions, and stucco decorations. The woodwork of the doors and interiors of the buildings was often finely carved.

The monastery church follows the usual plan for churches of this order, a Latin Cross with an elevated choir at the foot and the altar behind a wide staircase. The mannerist altarpiece of the main chapel is considered the point of departure of Andalusian sculpture as such; it is mainly the work of Pablo de Rojas. The richly decorated Renaissance interior features coffering, scalloping and sculptures, and is a late work of Renaissance humanism. The iconographic program highlights the military and the heroic grandeur of the Gonzalo Fernández de Córdoba, known as the Gran Capitán ("Great Captain"), who is buried in the crossing with his wife, Doña Maria de Manrique.

Braswell (2003, p. 261). The talud-tablero style pre-dates its earliest appearance at Teotihuacan in the Early Classic period; it appears to have originated in the Tlaxcala- Puebla region during the Preclassic.Braswell (2003, p. 11) Analyses have traced the development into local variants of the talud-tablero style at sites such as Tikal, where its use precedes the 5th-century appearance of iconographic motifs shared with Teotihuacan. The talud-tablero style disseminated through Mesoamerica generally from the end of the Preclassic period, and not specifically, or solely, via Teotihuacano influence. It is unclear how or from where the style spread into the Maya region.

Iconographic analysis indicates that Lalitgiri had already been established during the Shunga period of the 2nd century BC, making it one of the oldest Buddhist establishments in the world. The Chinese traveller Xuanzang (Hiuen Tsang), who visited it in AD 639, as Puphagiri Mahavihara, as well as in medieval Tibetan texts. However, unlike Takshila and Nalanda, the ruins of Pushpagiri were not discovered until 1995, when a lecturer from a local college first stumbled upon the site. The task of excavating Pushpagiri's ruins, stretching over of land, was undertaken by the Odisha Institute of Maritime and South East Asian Studies between 1996 and 2006.

Detail of The Vestal Virgin Tuccia highlighting the illusion of diaphanous fabric clinging to flesh There are three iconographic elements employed by Corradini in The Vestal Virgin Tuccia: the veil, the sieve, and the rose that she holds in her left hand. While it is appropriate to depict a Vestal with a veil, the shoulder-length veil called a suffibulum that covered the head but not the face of a Vestal bears little resemblance to the large clinging veils favored by the artist. Traditionally, veils are associated with modesty and chastity (e.g., in the Hebrew Bible, Rebecca covers herself with a veil before meeting Isaac).

Despite these strict guidelines, the Orthodox iconographic style is not stilted, and the individual artist is always permitted to bring his own style and spiritual insight into his work, so long as he remains faithful to Sacred Tradition, and many icons display remarkable movement and depth. The thoughtful use of symbolism allows the icon to present complex teaching in a simple way, making it possible to educate even the illiterate in theology. The interiors of Orthodox Churches are often completely covered in icons of Christ, Mary and the saints. Most are portrait figures in various conventional poses, but many narrative scenes are also depicted.

His works are conserved at the Museums of Bari (Pinacoteca metropolitana di Bari) and Latina (Galleria Civica d'Arte Moderna e Contemporanea di Latina) and Foggia (Museo Civico e Pinacoteca Comunale di Foggia = Civic Museum and Municipal Gallery of Foggia).Archivio Bioiconografico della Soprintendenza alla Galleria Nazionale d'Arte Moderna in Rome The photographic list of many of his paintings and the biographical documentation are in leaflets dedicated to this artist in the Bio-iconographic Archive of the Supervisory Office of the Galleria Nazionale d'Arte Moderna (National Gallery of Modern and Contemporary Art) in Rome (Ministry of cultural assets).Archivio Bioiconografico della Soprintendenza alla Galleria Nazionale d'Arte Moderna in Rome.

Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image. Another term used to refer to the art of cold painting and gilding on the back of glass is verre églomisé, named after the French decorator Jean-Baptiste Glomy (1711–86), who framed prints using glass that had been reverse-painted.Michelle A. Erhardt and Amy M. Morris, Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque (Brill, 2012; ), p. 315. In German it is known as Hinterglasmalerei.

Moses is depicted with horns, connoting "the radiance of the Lord", due to the similarity in the Hebrew words for "beams of light" and "horns". This kind of iconographic symbolism was common in early sacred art, and for an artist horns are easier to sculpt than rays of light. Other works of art include two canvases of Saint Augustine and St. Margaret by Guercino, the monument of Cardinal Girolamo Agucchi designed by Domenichino, who is also the painter of a sacristy fresco depicting the Liberation of St. Peter (1604). The altarpiece on the first chapel to the left is a Deposition by Cristoforo Roncalli.

Portal The church's portal rose in year 1486 and was originally located on left side of the monastery, providing access to faithfuls directly from outside the monastery. It consists of pointed archivolts decorated with plants, animals and some human figurative motifs located under a big ogee with poaceaes. In the tympanum represents the motive of the Compassion of the Virgin, which according to late-Medieval iconographic canons, shows the Virgin sitting with her died Son in her arms, accompanied by the symbols of the moon and sun. Stylistically it is linked to the works of the Colonia (father and son), who participated in the rising of the monastery.

In the accounts written by Fray Gerónimo de Mendieta on the origin of Tecpatl: The Centzonmimixcoa were the first man- gods, "they shall be as gods who created mankind and subsequently be slaughtered at Teotihuacan, some by jumping into fire, the others by opening their chest with a flint knife, this in order that the new Sun has movement and life". This story is related to two main iconographic elements from Sunstone: one is the Flint Knife (Tecpatl), and the other is the glyph: Four Movement (Nahui Ollin) Aztec or Mixtec sacrificial knife, probably for ceremonial use only, in the British Museum.Website of the British Museum.

Saint George, Archangel Michael and Saint John the Baptist are given a special place in the iconographic programme. Another three representations are dedicated to Saint George: in the Deesis, where he takes the place of Saint John the Baptist, on the vault of the northwest corner bay and on the south wall of the southwest corner bay. The wall-paintings are covered in places by a second painting layer of the 13th century, restricted to the half dome of the apse and the lower registers of the walls. Two or three layers of wall-paintings are also found in the narthex, which is of funerary character.

Coppo is now widely accepted as the first to employ the angled throne in the representation of the Virgin and Child. The clothing, different than the traditional Byzantine art style, is of northern origin and perhaps is the first time to be used in Tuscan painting. Seen as well for the first time in Tuscan painting are a number of iconographic features. The Child’s bare arms and feet, the gesture of the Virgin’s touch to her child’s right foot, the sash of the Child’s garments, and the fabric on which the Child sits are all linked to Christ’s Passion and to the Virgin, themes very important to the Servite patrons.

If Mary represents the Church, John represents the priesthood. They are set apart from Christ, who is depicted archaically, by their stylistically modern, Caravaggesque appearance. While the viewer would have been comfortable with the familiar iconographic depiction of Christ, the sophisticate would have appreciated the fashionable depiction of John and Mary and relished the references to other familiar works. The composition has been compared to that of a widely distributed (by Ter Brugghen's time) 1511 engraving by Albrecht Dürer, along with the Calvary of Hendrik van Rijn (1363), which the painter would have seen in St. John's Church, Utrecht, and the Crucifixions of the German Mathis Grünewald (c.

The vision evoked in this image is both the Ascent of Christ and his triumphant return at the end of time. An attractive Greek fret in the classical tradition separates this register from the one below, in which are the Virgin and the Apostles, centred in the figures of St Peter, with the keys, and Mary, with a crown in her hand, a curious iconographic detail referring to the Kingdom of Heaven. Also portrayed are Andrew, with the cross, a beardless John the Evangelist and Paul, the Apostle of the Gentiles, who represent the Church militant attending the manifestation of God. Attractive floral borders decorated the windows.

Obidoh Freeborn posits that colonialism is one element that has created the character of modern African art. According to authors Douglas Fraser and Herbert M. Cole, "The precipitous alterations in the power structure wrought by colonialism were quickly followed by drastic iconographic changes in the art." Fraser and Cole assert that, in Igboland, some art objects "lack the vigor and careful craftsmanship of the earlier art objects that served traditional functions. Author Chika Okeke-Agulu states that "the racist infrastructure of British imperial enterprise forced upon the political and cultural guardians of empire a denial and suppression of an emergent sovereign Africa and modernist art.

A notary's copy of the contract between Caravaggio and Cerasi.The two lateral paintings of the Cerasi Chapel were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII who purchased the chapel from the Augustinian friars on 8 July 1600 and entrusted Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel.Denis Mahon: Egregius in Urbe Pictor: Caravaggio revised, The Burlington Magazine, Vol.

A modern Greek iconographic convention depicts Demetrius with the Great White Tower in the background. The anachronistic White Tower acts as a symbolic depiction of the city of Thessaloniki, despite having been built in the 16th century, centuries after his life, and the exact architecture of the older tower that stood at the same site in earlier times is unknown. Again, iconography often depicts saints holding a church or protecting a city. According to hagiographic legend, as retold by Dimitry of Rostov in particular, Demetrius appeared in 1207 in the camp of tsar Kaloyan of Bulgaria, piercing the king with a lance and so killing him.

Dr. N.P Joshi highlights the brahmanical sculptures in the museum in a two volume work and their importance in studying iconographic representations. Joshi was also the former director of the Museum in the 1970’s and uses this expertise and access to write two academically significant volumes specifically detailing the sculptural works of the museum. The museum guide mentions a reserve collection of stone and terracotta images, plaster casts, copper plates and royal inscriptions. The reserve collection houses some important and notable items including the Bhitri seal, Hadaha inscription, as well as more than four hundred metal sculptures with Jain, Buddhist and Hindu affiliations.

459Boschini, M., Le Minere della pittura, Venezia, 1664, p. 547 There was a gilded silver altarpiece which was probably kept in the main altar and then, as noted in a 1681 pastoral visit by the bishop of Torcello, was put at the bottom of a large crucifix in front of the main chapel which shared the nave of the presbytery with an iconostasis with the twelve apostles. It was probably the type of 12th century Venetian goldsmith work inspired by Byzantine iconographic elements. It was made of gilded silver tiles nailed to wooden panels with sacred images which represented the Madonna, the Saints and Christ the Saviour.

Van Eyck incorporated a wide variety of iconographic elements, often conveying what he saw as a co-existence of the spiritual and material worlds. The iconography was embedded in the work unobtrusively; typically the references comprised small but key background details. His use of symbolism and biblical references is characteristic of his work,Ward (1994), 11 a handling of religious iconography he pioneered, with his innovations taken up and developed by van der Weyden, Memling and Christus. Each employed rich and complex iconographical elements to create a heightened sense of contemporary beliefs and spiritual ideals. Virgin and Child with Canon van der Paele, c. 1434–1436.

Moses has iconographic dress, the others everyday contemporary clothes, 10th century The most common images surviving from the Byzantine period are not relevant as references for actual dress worn in the period. Christ (often even as a baby), the Apostles, Saint Joseph, Saint John the Baptist and some others are nearly always shown wearing formulaic dress of a large himation, a large rectangular mantle wrapped round the body (almost a toga), over a chiton, or loose sleeved tunic, reaching to the ankles. Sandals are worn on the feet. This costume is not commonly seen in secular contexts, although possibly this is deliberate, to avoid confusing secular with divine subjects.

The meditation verses list the attributes of each form. The text says that these meditation forms are from the Mudgala Purana. In his review of how the iconographic forms of Ganapati shown in the Sritattvanidhi compare with those known from other sources, Martin-Dubost notes that the Sritattvanidhi is a recent text from South India, and while it includes many of Ganesha's forms that were known at that time in that area it does not describe earlier two- armed forms that existed from the 4th century, nor those with fourteen and twenty arms that appeared in Central India in the 9th and 10th centuries.Martin-Dubost, p. 120.

Early iconographic evidence of the breed in Padova is the fresco of the Annunciation by Jacopo da Verona, painted in 1397 in the Oratorio di San Michele in Padova, which shows a peasant woman feeding a crested hen and her chicks. The Padovana is described and illustrated as gallina patavina, or Paduan hen, by Ulisse Aldrovandi in the second part of his work on ornithology, Ornithologiae tomus alter cum indice copiosissimo variarum linguarum, published in Bologna in 1600. In the twenty-first century, breed numbers remain low. A study published in 2007 used a figure of approximately 1200 for the total breeding stock, of which some 300 were cocks.

The coat-of-arms of Pope Sixtus IV on the lintel is encircled by oak branches. The carvings around the door are the only significant sculptural decorations on the façade and as a whole they summarize the iconographic program of the Sistine rebuilding. The central motif is the Madonna del Popolo surrounded by the symbols of heavenly light and paradisiacal abundance, intertwined with the emblem of the Della Rovere dynasty, and set in a perfectly classical frame. Bernini added the two halves of a broken segmental pediment on the sides of the upper level, replacing the original volutes, and the curved connecting element with the rich oak garlands.

310x310px The Ephebe does not correspond to any familiar iconographic model, and there are no known copies of the type. He held a spherical object in his right hand,Minute fragments of bronze adhere to the fingers (Svoronos 1911, Myers 1999, Dafas 2019 and 2015). and possibly may have represented Paris presenting the Apple of Discord to Aphrodite; however, since Paris is consistently depicted cloaked and with the distinctive Phrygian cap, other scholars have suggested a beardless, youthful Heracles with the Apple of the Hesperides. It has also been suggested that the youth is a depiction of Perseus holding the head of the slain Gorgon.

The core anatomical statue is devoid of any decorative elements. It is a lifelike figure of Nārāyana Guru, supposedly in his mid-life, in a seated posture and with hands in the ‘dharmachakra mudra’, the gesture of teaching usually interpreted as turning the wheel of righteousness. The hands are held level with the heart, the thumbs and index fingers form circles, symbolising the teachings of the Nārāyana Guru. The legs are placed in ‘vajrāsana’ an iconographic yoga posture (also referred to as ‘padmasana’), symbolising that Narayana Guru had mastered various yoga practices and endorsed Raja Yoga, which is yoga of meditation and also incorporates Hatha Yoga.

On the other hand, an engraved gem portrait of Augustus's daughter Julia (or Julia Flavia, daughter of the emperor Titus) at the top of the "Escrain de Charlemagne", an elaborate treasure given to the Abbey of Saint-Denis by Charles the Bald, was treated as an image of the Virgin Mary. Another gem portrait of the Roman Emperor Caracalla had a cross and the name of Saint Peter added to it before use in metalwork for the Sainte-Chapelle in Paris. It is now impossible to know the degrees of awareness of this iconographic recycling among the different categories of people creating and seeing these objects.Henderson, pp.

Zellweger's X-stem Logic Alphabet (XLA) shape value notation for the 16 binary logical connectives. The count of the iconographic letter shapes, 8 odd-stem (– 4 – 4 –) and 8 even-stem (1 – 6 – 1), corresponds to the fifth row of Pascal's Triangle (1 4 6 4 1). (Click Image to Enlarge)Zellweger's XLA shape value notation derived from a 2-dimensional square-framed truth table. (Click Image to Enlarge)Zellweger's evolution of a Venn Diagram into a four quadrant truth matrix. (Click Image to Enlarge) Zellweger’s background is a combination of formal education and extensive research in the fields of Psychology, Pedagogy, Semiotics and Logic.

Also, Bishop Daniel of Thessaloniki took care of the monastery's finances and, with the consent of the Athonite community and Patriarch Gerasimus III of Constantinople, made the monastery a cenobium. The relevant patriarchical edict was published in 1797 by Patriarch Gregory V of Constantinople, who also rebuilt the southern part of the monastery that had been ruined. A series of competent abbots (Acacius, Euthymius, Theodoritus, and Agathangellus) greatly renovated and expanded the monastery, to the point where the current structures date almost exclusively from their time. The successor of Agathangellus, Lucas, founded an iconographic school, which did great service to the monastery for many years.

He devoted much of his research to the Kościuszko Uprising, including he examined the causes of the insurrection and the combat trail, and showed the innovation of Kościuszko's command; he revised the memoirs of Jan Kiliński. He analyzed the guild's institution, the significance of Polish cities in the system of political power, and the history and significance of fortresses (including Zamość and Modlin). He investigated the history of the Jewish population of Warsaw, was interested in the history of Polish printing and the significance of Sarmatism in the Polish culture of the 17th century. He gathered rich sources and iconographic materials for the reign of Zygmunt III Waza.

Sessão do Conselho de Estado was exhibited publicly in the Exposition of Contemporary Art and Retrospective Art of the Independence Centenary, that began in . The painting was selected in 1923, together with artworks by Augusto Bracet, Helios Seelinger and Pedro Paulo Bruno, to be bought by the public art collection, the main prize of this fine arts event with a goal of acquiring works that alluded to the national formation of Brazil. The selection was made by Flexa Ribeiro, Archimedes Memória and Rodolfo Chambelland, with their task being searching for new iconographic portrayals of historical interpretations of independence. Albuquerque's artwork was described afterwards as "the most important" of these new portrayals.

Traditional Ostrogski coat of arms was described in his work Kasper Niesiecki, while its iconographic representation is seen on the Ostroh Bible. According to Niesiecki the first (oldest) Ostrogski coat of arms was Pogoń Ruska coat of arms where the Saint George pierces a dragon (see Saint George and the Dragon). During the Battle of Vedrosha on 14 July 1500 the Grand Hetman of Lithuania Konstanty Ostrogski was taken a prisoner by the Muscovite forces and later sent to Vologda. Nikolay Karamzin cites that on 18 October 1506 Ostrogski pledged his allegiance to the Grand Prince of Moscow Vasili III as a boyar, confirmed by the Metropolitan of Moscow Simon.

Painted in oils on an oak panel measuring about 11 x 13 in. (28 x 34 cm), the painting depicts in slightly accelerated perspective two figures in a partially vaulted interior that is dominated by a wooden spiral staircase. The architecture includes stone, brick and wood, with arched elements (window, vault, doors) that create an impression of monumentality. On the pre-iconographic level, this is one of the most "graphic" works painted by Rembrandt, in the sense that it contains many straight, curved, circular, and radiating lines: from the lines of the flagstones to those of the window, the bricks, the wainscotting, and of course the staircase.

Picasso spent at least six months working on The Charnel House which has iconographic links to the graphic work of Picasso's Spanish compatriot Francisco de Goya (1746–1828). Picasso's friend and biographer Pierre Daix records that the title of the painting was not one assigned to it originally by Picasso himself – the artist referred to The Charnel House as simply 'my painting' or 'the massacre'; nevertheless, in later years after the Second World War Picasso refused to retitle the painting once its identity as The Charnel House gained popularity, and it was first exhibited as such following Picasso's joining of the Communist Party in 1946.

144–145 and no doubt this was one of the many iconographic features taken over by Christian art from what seems to have been a vigorous tradition of Jewish narrative art. Here and elsewhere it often represents the bath Kol (literally "daughter of a voice") or voice of God, a use also taken over into Christian art. The hand may also relate to older traditions in various other religions in the Ancient Near East.Summarized by Hachlili, 145 In the art of the Amarna period in Egypt under Akhenaten, the rays of the Aten sun-disk end in small hands to suggest the bounty of the supreme deity.

There were also frescoes of Adam and Eve as well as David and Goliath. The frescoes clearly followed the Hellenistic Jewish iconographic tradition but they are more crudely done than the paintings of the nearby synagogue. Fragments of parchment scrolls with Hebrew texts have also been unearthed; they resisted meaningful translation until J.L. Teicher pointed out that they were Christian Eucharistic prayers, so closely connected with the prayers in Didache that he was able to fill lacunae in the light of the Didache text.J.L. Teicher, "Ancient Eucharistic Prayers in Hebrew (Dura- Europos Parchment D. Pg. 25)" The Jewish Quarterly Review New Series 54.2 (October 1963), pp. 99–109.

A seated Ardhanarishvara with both the vahanas The posture of Ardhanarishvara may be tribhanga – bent in three parts: head (leaning to the left), torso (to the right) and right leg or in the sthanamudra position (straight), sometimes standing on a lotus pedestal, whereupon it is called samapada. Seated images of Ardhanarishvara are missing in iconographic treatises, but are still found in sculpture and painting.Rao pp. 330–2 Though the canons often depict the Nandi bull as the common vahana (mount) of Ardhanarishvara, some depictions have Shiva's bull vahana seated or standing near or behind his foot, while the goddess's lion vahana is near her foot.

There is a Cham dance that retells the story of the Council of Lhasa related to the teachings of Chöd. Moheyan is generally depicted as of ample girth, goaded by children.An iconographic thangka depiction of Moheyan is held in the SAMA collection and may be seen here (accessed: 14 January 2008) Chöd is a product of both the Indian and Chinese transmissions of Buddhism into the Himalayas. For a discussion of the Dunhuang fulcrum of the entwined relationship of Chinese and Indian Buddhism see van Schaik and Dalton (2004).van Schaik, Sam and Dalton, Jacob (2004). "Where Chan and Tantra Meet: Buddhist Syncretism in Dunhuang" in Whitfield, Susan (ed) (2004).

Harper 2013: 205-206). This Youyang zazu context is the only extant early record of the word moze < Middle Chinese mækdræk, which Harper explains as a Tang pun with the marvelous baize < bækdræk (白澤, White Marsh) creature. Its omniscience of the world's supernatural creatures was supposedly written down as the lost Baize tu (白澤圖, White Marsh diagrams), which were popular iconographic drawings used to protect the home from harm. Harper suggests an origin for the mo's elephant trunk. In the 8th and 9th centuries the Indian elephant-headed deity Ganesha was the Buddhist counterpart to the popular Chinese spirit-protector Baize (2013: 206-207).

This development of the earlier model entailed further modifications, meaning that the rowers would be located above deck, and essentially on the same level.Morrison & Coates (1996), pp. 259–260, 270–272 This would allow the hull to be strengthened, and have increased carrying capacity in consumable supplies, as well as improve the ventilation conditions of the rowers, an especially important factor in maintaining their stamina, and thereby improving the ship's maintainable speed. It is unclear however whether this design was applied to heavier warships, and although the Romans copied the Punic model for their quinqueremes, there is ample iconographic evidence of outrigger-equipped warships used until the late imperial period.

Identification of the gold figurine with the offering goddess Vajralāsyā also implies that it is but a singular part of a larger set of offering deities associated with the Diamond Realm mandala, the whereabouts of which remains unknown and are most likely lost in time. One of the factors that makes the identification of the image by scholars difficult is the fact that it has no specific iconographic attributes. The goldsmiths in the Philippines knew of Hindu and Buddhist artistic conventions, but did not include motifs which would identify them as specific deities. Philippine goldsmiths may have done this intentionally to maintain their ethnic identity.

The Louvre copy of the lost portrait by Quentin Matsys, Matsys' portrait may have been drawn from life, but it has been lost. At least three copies of the portrait are known to have been made in the first half of the 17th century: one by an anonymous Flemish artist, kept in the Louvre (shown here), one by Peter Paul Rubens, kept in Brussels, and one by a student of Rubens', now kept in Uppsala. source of the iconographic tradition of "fat" Paracelsus.Andrew Cunninghgam, "Paracelsus Fat and Thin: Thoughts on Reputations and Realities" in: Ole Peter Grell (ed.), Paracelsus (1998), 53–78 (p. 57).

Sehener's name seems to be difficult to read, different scholars propose different alternative readings: James Edward Quibell proposes Sehener and Seheneser, Hartwig Altenmüller instead reads Sehefener.Cordón, I, Four daughters of the king” from the 2nd Dynasty Epigraphic and iconographic analysis of the stelae of Hepetjenmet, Satba, Shepsetipet (?) and Sehfner, in: Tenth International Congress of Egiptologists, Rhodes 22-29 may 2008), University of the Aegean: 2008, Leuven 2015, , 1554-1556 Sehener is attested only by her decorated slab stela. Next to nothing is known about her life, except for her title as a princess. However, the richly decorated slab stela might point out that Sehener was pretty wealthy and of some importance.

F. W. King, describing the African Orthodox Church of Saint John Coltrane, said "We are Coltrane-conscious...God dwells in the musical majesty of his sounds." Samuel G. Freedman wrote in The New York Times that Coltrane is depicted as one of the 90 saints in the Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The icon is a painting in the Byzantine iconographic style that wraps around the entire church rotunda. It was executed by Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church who painted other icons of Coltrane for the Coltrane Church.

An alternate theory dates Jayakhya-Samhita to c. 600–850 CE and suggests that the three-faced Vishnu images of Gupta era as well as Gupta icons of Vishvarupa (another form of Vishnu) inspired the iconography of the Vaikuntha Chaturmurti, which developed in Kashmir in the 8th century and attached the fourth head on the back of the older icon of a three-faced Vishnu. Though popular in Kashmir, the four-headed icon is rarely seen outside of it. The iconography of Vaikuntha Chaturmurti was influenced by Gandhara architectural tradition, which impacted the iconographic depictions of sculptures of Northwest India, particularly those made in Kashmir.

In addition, the giant oak in the Belvedere Courtyard was planted by Julius in 1504 to be incorporated into Bramante's design for the three-tiered area. The Della Rovere coat of arms bore an oak tree and the family was referenced with the emblem of the acorn, which had mythological, Christian, and Republican Roman iconographic associations. Julius II as cardinal (left), with uncle and patron Pope Sixtus IV (right) In reality, however, Julius did not belong to the Della Rovere clan, which was established in Vinovo, near Turin. His uncle Sixtus IV was from a family of merchants and Julius II's own father was a fisherman.

The bottom right section of the shield bears the small, iconographic symbol of St. James, the seashell, found in Santiago de Compostela, Cathedral of the Primate of Spain. Santiago is the patron saint of the late Santiago Zobel after whom the school was named. The three small stars at the corners of this section were taken from the official Coat of Arms of the Republic of the Philippines. The upper section of the shield contains the cross and rays, as reminders that the primary purpose of Lasallian education is to lead every student to Christ and to spread the Good News of God's Kingdom.

The codex is one of the most famous manuscripts belonging to the Bosnian Church in which there are some iconographic elements which are not in concordance with the supposed theological doctrine of Christians (Annunciation, Crucifixion and Ascension). All of the important Bosnian Church books (Nikoljsko evandjelje, Sreckovicevo evandelje, the Manuscript of Hval, the Manuscript of Krstyanin Radosav) are based on Glagolitic Church books. New analyses of style and painting techniques show that they were inscribed by at least two miniaturists. One painter was painting on the blue background, and the other was painting on the gold background in which the miniatures are situated in a rich architectonic frame.

Another iconographic element of Seleucus VI's coinage is the short vertical stubby horns above the temple area; the meaning of this motif has been debated among scholars. It is likely an allusion to Seleucus VI's descent from his grandfather Demetrius II, who utilized the same motif. The specific meaning of the horns is not clear, but it could have been an indication that the king was a manifestation of a god; the stubby horns sported by Seleucus VI probably carried the same meaning as those of his grandfather. In the Seleucid dynasty, currency struck during campaigns against a rival (or usurper) showed the king with a beard.

There were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict. The scenes from the Life of Peter were designed to hang below the frescoes of the Life of Christ by Perugino and others in the middle register of the Chapel; opposite them, the Life of Saint Paul was to hang below the Life of Moses in fresco. An intervening small frieze showed subjects from the life of Leo, also designed to complement the other series.

The personified, somewhat abstract god of eternity Ḥeḥ possessed no known cult centre or sanctuary; rather, his veneration revolved around symbolism and personal belief. The god's image and its iconographic elements reflected the wish for millions of years of life or rule; as such, the figure of Ḥeḥ finds frequent representation in amulets, prestige items and royal iconography from the late Old Kingdom period onwards. Heh became associated with the King and his quest for longevity. For instance, he appears on the tomb of King Tutankhamen, in two cartouches, where he is crowned with a winged scarab beetle, symbolizing existence and a sun disk.

Doom painting, St Mary's Church, North Leigh, Oxfordshire, 15th century In art, the Last Judgment is a common theme in medieval and renaissance religious iconography. Like most early iconographic innovations, its origins stem from Byzantine art, although it was a much less common subject than in the West during the Middle Ages.Remarkably, only three Byzantine icons of the subject survive, all at St Catherine's Monastery. Daly, 252 In Western Christianity, it is often the subject depicted in medieval cathedrals and churches, either outside on the central tympanum of the entrance or inside on the (rear) west wall, so that the congregation attending church saw the image on either entering of leaving.

Additionally, Beltrami proposed the letters "Can" and "Ang" were Latin for "Cantum Angelicum" and a reference to Angelicum ac divinum opus, a music treatise by Gaffurius. The theory has been disproven on the basis that iconographic evidence does not match Gaffurius to the man in Portrait of a Musician. Kemp notes that the letters "Can" and "Ang" could just as easily be "Cantore Angelico," Italian for "angelic singer". Also, the subject of the painting was not depicted in a clerical robe, which would have properly identified him as a priest, and the subject of the painting is a young man; Gaffurius would have been in his mid thirties at the time.

As a puzzle, assembling unpublished documents, memories, testimonies, iconographic elements, suggestions for interpretation, the Cahiers invite to discover an author who scored his generation, in a free approach without theoretical crutches, without partisan point of view. Indeed, the construction of an issue obeys the only logical research that tries to knock down the ideas and go to the heart of the work. More than four thousand collaborators, writers, academics and translators from all over the world have so far taken part in the Cahiers de L’Herne, helping to set up, far from the beaten track, an institution which is probably the only one of its kind.

The West adopted many of the Byzantine iconographic elements, but preferred the stable rather than the cave, though Duccio's Byzantine-influenced Maestà version tries to have both. The midwives gradually dropped out from Western depictions, as Latin theologians disapproved of these legends; sometimes the bath remains, either being got ready or with Mary bathing Jesus. The midwives are still seen where Byzantine influence is strong, especially in Italy; as in Giotto, one may hand Jesus over to his mother. During the Gothic period, in the North earlier than in Italy, increasing closeness between mother and child develops, and Mary begins to hold her baby, or he looks over to her.

Although no examples of the Bosom of Abraham Trinity have survived in other media, they probably once existed. English alabasters were exported across Europe and have survived in relatively large numbers on the Continent, especially France, while other publicly displayed artistic media from the period have mostly been destroyed since the Protestant Reformation. The English alabaster industry is a rather unlikely place for such a bold iconographic innovation in contemporary terms, since it concentrated on turning out large numbers of standard figures and sets of panels that closely followed more high-status forms of art in their iconography.JSTOR Iconographical Peculiarities in English Medieval Alabaster Carvings.

See Bolzoni, Lina, Il teatro della memoria:studi su Giulio Camillo (Padua: Liviana, 1984); Bolzoni, Lina, trans. Jeremy Parzen, The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press, (University of Toronto Press, 2001), pp.23-82; Yates, Frances, The Art of Memory (London: Routledge & Kegan Paul, 1966), chapters 6 & 7; Robinson, K., A Search for the Source of the Whirlpool of Artifice: the cosmology of Giulio Camillo (Edinburgh: Dunedin Academic Press, 2006). Camillo attended the coronation of Charles V in 1519 and is believed to have held a chair of Dialectics at the University of Bologna from around 1521 to 1525.

Hindu deities that may be depicted with the kapala include Durga, Kālī and Shiva, especially in his Bhairava form. Even Ganesha, when adopted into Tibetan Buddhism as Maharakta Ganapati, is shown with a kapala filled with blood. Some of the Hindu deities pictured thus are: a) Kālī, pictured in the most common four-armed iconographic image, shows each hand carrying variously a sword, a trishula (trident), a severed head, and a bowl or skullcup (kapala) catching the blood of the severed head. b) The Chamunda, a form of Durga, seen in the Halebidu temple built by the Hoysala, is described as wearing a garland of severed heads or skulls (Mundamala).

Trephination involves an intentional and planned operation to open or bore into the skull on a live subject, using tools specifically designed for the purpose. This can be accomplished by several techniques, such as drilling, incising and abrasion, or some combination of these. The purpose of such operations ranges from the medicinal (intended to relieve pressure, or address a number of other ailments) to the ritualised and experimental. In pre-Columbian Mesoamerica, evidence for the practice of trephination and an assortment of other cranial deformation techniques comes from a variety of sources, including physical cranial remains of pre-Columbian burials, allusions in iconographic artworks and reports from the post-conquest period.

Bates' art is focused on Tjukurrpa from her mother and father, particularly Kungarrangkalpa (Seven Sisters) and Warmarrla Tjukurrpa, and features distinctive styles of "unusual symmetries and circular motifs," as well as "traditional motifs and iconographic forms." In the early 1990s, she joined the Warburton Arts Project, which owns the "largest collection of Indigenous art in Australia that is held by Aboriginal people themselves", where she produced her first known work, Kungkarrangkalpa at Wanarn, in 1991. In 1998, Bates was awarded the Normandy Heritage Art Prize at the National Aboriginal and Torres Strait Islander Art Awards. In the late 1990s, Bates returned to Wanarn and continued to paint.

Itamar Levy provided an iconographic interpretation of Gershuni's work and connected his images to artistic works from the history of western art. The meeting between these and Gershuni "the Jew" creates a space in which the old world order has awakened and "the aspiration toward the lofty is written in bodily fluids and systems of limbs."Itamar Levy, "In My Milk and My Blood," In: Yigal Zalmona, For Man and Beast are Creatures of Chance (Jerusalem: The Israeli Museum,1986), unnumbered. [Hebrew] In his article Zalmona also mentioned the erotic aspect of Gershuni's work and presented it as a sign of his search for self-identity.

As a genre scene, the painting contains many iconographic elements that are open to the viewer's interpretation and ideas that relate to Dutch popular culture of the time. The painting consists of a gathering of family members (parents, children, grandparents) around a table that is draped with a carpet typical of Dutch scenes. Though the subject has been painted by Steen an estimated thirteen times, each one was depicted in a household setting as the theme for child rearing and parental interaction. Like most of Steen's paintings As the Old Sing... is of the merry company genre and depicts family life as a part of popular culture during the 17th century.

Nako Monastery A view of Nako lake in August 2008 Nako monastery (Tibetan language:Lob-dpon- zhabrjes ) dated to the 11th century (1025 AD), oriented towards Tibet, similar in style to the Tabo Monastery consists of four large halls of which the oldest and largest is known as Dukhong. It is also known as 'Lotsava Jhakang' meaning "complex of the translator" named so in honour of Rinchen Zangpo who translated Buddhist scriptures from Sanskrit to the Tibetan language. The iconographic art work in the monastery is related to Vajrayana Buddhism. The dukhong's walls have decorations of a complete mandala with "gates, fire-circle and secondary non-Buddhist deities in attendance".

In the Spisska Chapterhouse in the 80 years of the 15th century, a figure painter, author of the altar in Spišské Podhradí, which was based on solid modeling character and of a desire for their characterization up to their ambitious individualization. The place of his workshop was Spisska Chapterhouse, where his influence spread thanks to his pupils. Among them was even Master Martin, who was trained in the workshop of Master John in the 1470s. In the 1480s, he began working independently, but even then his panel paintings disappeared similarities typing female face, hair painting and iconographic content of the paintings corresponding to the formation of his teacher.

Sanxing (Three Star Gods) represented in Bai iconographic style at a Benzhu temple on Jinsuo Island, in Dali, Yunnan. Chinese religion has both influenced, and in turn has been influenced by, indigenous religions of ethnic groups that the Han Chinese have encountered along their ethnogenetic history. Seiwert (1987) finds evidence of pre-Chinese religions in the folk religion of certain southeastern provinces such as Fujian and Taiwan, especially in the local wu and lineages of ordained ritual masters.. Available online. A process of sinicization, or more appropriately a "Taoisation", is also the more recent experience of the indigenous religions of some distinct ethnic minorities of China, especially southwestern people.

Iconographic evidence of the yaal appears in temple statues dated as early as 500 BCE One of the Sangam works, the Kallaadam recounts how the first yaaḻ harp was inspired by an archer's bow, when he heard the musical sound of its twang. Another early South Asian harp was the ancient veena, not to be confused with the modern Indian veena which is a type of lute. Some Samudragupta gold coins show of the mid-4th century CE show (presumably) the king Samudragupta himself playing the instrument. The ancient veena survives today in Burma, in the form of the saung harp still played there.

This iconographic type – very often represented among the Nuragic bronze figurines – has been reported only twice among the Mont'e Prama statues, plus a third possible case, of which only one is in a good state of preservation. However, a reassembled shield, not assigned to any of the former three specimens, and numerous other fragments of a shield and (possibly) of a torso, suggest that the number of warriors was larger. Initially, the fragments of round-shaped shields had been attributed to archers, but later the hilt of a sword and similarities of the shields geometrical patterns to those of some bronzetti, led to postulate the presence of one or more statues of warriors.

The Green Table was created in 1932 for the "Concours international de chorégraphie" in Paris, in which Jooss had been invited to participate. The originality of the piece won him the first prize and marked an important step in his career. Choreographed between two great conflicts, the work is a sort of generic war, a set of circumstances that produce the same result no matter where or when they are played out. So Death bears the combined iconographic attributes.Marcia Siegel, “The Green Table: Sources of a Classic”, Dance Research Journal, Vol. 21, No. 1 (Spring, 1989), pp. 15-21. Web. 9 December 2011. In 1932, looking out through the thickening hedges of Nazism, Jooss takes a less visionary path.

And next to them local animals: goats and a camel. In spite of his distance from the center of artistic activity in the Land of Israel, the works of Hermann Struck, who immigrated to Israel in 1922, when he was already a mature artist with a worldwide reputation, also display some of the iconographic characteristics of visual art in the young Land of Israel. Palm trees and empty landscapes are central themes of his work. Along with paintings of the city of Jerusalem and its residents the special Land of Israel light, which so preoccupied its young artists, is translated in his prints into a sharp contrast which emphasizes the dark images on the light background.

The star and crescent is an iconographic symbol used in various historical contexts, but is best known as a symbol of the Ottoman Empire, Turkey and Pakistan. It is also often errouneusly considered as a symbol of Islam by extension. It developed in the iconography of the Hellenistic period (4th–1st centuries BCE) in the Kingdom of Pontus, the Bosporan Kingdom and notably the city of Byzantium by the 2nd century BCE. It is the conjoined representation of a crescent and a star, both elements have a long prior history in the iconography of the Ancient Near East as representing either the Sun and Moon or the Moon and Morning Star (or their divine personifications).

A later Baroque treatment of the subject: Anthony van Dyck's Portrait of Charles V on Horseback (1620) The painting contains a mix of styles; passages such as the armor and harness display the realism of Titian's early work, while the trees, landscape and sky are built from the broad stretches of colour and strong brushstrokes associated with his work from the 1540s on.Kaminski, 95 It contains surprisingly few iconographic elements,Rosand, 126–27 but they are not absent. Pietro Aretino, a contemporary writer whom Titian painted, suggested that he incorporate conventional references to religion and fame. The lance alludes to Saint George, the exemplar of the "traditional image of a military knight-saint".

Although painted in just several years the frescoes of Lesnovo show all the stylistic diversity of the current styles of painting. While some of the paintings in the nave follow the classicist examples from the beginning of the 14th century with their calm composition and mild color contrast, the painter of the cycle on St Michael emphasized movement and drama of the events, painting them in bright colors.В. Ј. Ђурић, Г. Бабић-Ђорђевић, Српска уметност у Средњем веку II, Београд 1997, стр. 73 Many of the paintings show rare or even unique depictions or iconographic solutions such as the red painted St Michael on a horse, represented as a commander of God's army or a cycle of archangels.

Le Gros's work was completed by 1707 and sent to Cluny, where it arrived in 1709. He worked on this project in as much a French manner as he ever would and invented a spectacular sepulchral monument, at once continuing in the French baroque tradition as well as opening up new formal and iconographic avenues. The chapel was meant to receive several family members, including the cardinal himself, but first and foremost his parents, Frédéric Maurice de La Tour d'Auvergne, Duc de Bouillon and Éléonor de Bergh, Duchesse de Bouillon. Depicted as the main characters in the centre of the monument their grouping and gestures allude to the fact that Éléonor was instrumental in converting her husband to catholicism.

The book uses parallels and symbols to portray Charlie as a martyr who sacrifices in order to be in a position to communicate to the world the events that are occurring in war zones. Bronwyn Drainie links the fire imagery to "iconographic figures like St. Peter in Chains, the Madonna in Glory, or Susanna Among the Elders". Drainie also notes that "the novel is full of the vocabulary of purification and redemption". An article in the journal English Studies compared the characterizations of war correspondents in Ignatieff's Charlie Johnson in the Flames and Pat Barker's Double Vision, both of whom report on violence to "image-dominated cultures" and deal with debates regarding intervention.

Byzantine-style bronze panagia from Jerusalem, showing the Virgin Mary in the Orans position Orans was common in early Sumerian cultures: "...it appears that Sumerian people might have a statue carved to represent themselves and do their worshipping for them - in their place, as a stand in. An inscription on one such statue translates, 'It offers prayers.' Another inscription says, 'Statue, say unto my king (god)..." The custom of praying in antiquity with outstretched, raised arms was common to both Jews and Gentiles, and indeed the iconographic type of the Orans was itself strongly influenced by classic representations. But the meaning of the orans of Christian art is quite different from that of its prototypes.

Cover of an edition of The Blue Bird, by Madame d'Aulnoy The title L'Oiseau bleu (The Blue Bird) can be traced back to a French literary fairy tale by Madame d'Aulnoy (1650/1651 – 4 January 1705), published in 1697. When d'Aulnoy termed her works contes de fées (fairy tales), she originated the term that is now generally used for the genre.Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 858, Prince Charming, in the story, is transformed by the fairy godmother into a blue bird. Aside from the subject of the title of Madame d'Aulnoy's story, there is further iconographic evidence in Metzinger's painting that suggests a link between the two.

The church at Dragomirna is decorated with splendid frescoes, but they are to be found only in the altar and the nave. No one knows whether the bema and the portico were also formerly painted. The paintings represent yet another innovative element, both in themes and in painting techniques, related most closely to iconographic and miniature art. The Dragomirna museum contains precious elements of Romanian medieval civilization: embroideries; bookbindings fitted with gilded silver, most of them made by Grigore Moisiu; crosses carved in cedar and ebony; the candle lit at the dedication of the Big Church; the Homiliary of Metropolitan Varlaam; gold- and silver-embroidered garments; and other ecclesiastical objects and sacerdotal attire.

A relative chronology might be determined on the basis of comparison of motifs and styles. Iconographic research is unhelpful for this purpose because the motifs derive from a traditional repertoire, which was used largely without variation over a long period of time. Motifs from daily life are more helpful, however, since some of them depict datable building work such as the Capitoline Temple, which was built in AD 82 and is depicted on a relief from the Louvre Museum,Inventory number 3839 providing a terminus ante quem for that tile. Curetes dancing around baby Zeus in Roscher's Ausführliches Lexikon der griechischen und römischen Mythologie A better aid to dating is the quality of the clay.

A popular hypothesis is that sheela na gigs represent a pagan goddess, but academics believe the situation was more complex, with multiple interpretations and roles for the female character as spiritual traditions changed over time. The goddess in question usually is identified as Celtic, the hag-like Cailleach figure of Irish and Scottish mythology. Margaret Murray proposed this, as did Anne Ross, who wrote in her essay, "The Divine Hag of the Pagan Celts", "I would like to suggest that in their earliest iconographic form they do in fact portray the territorial or war-goddess in her hag-like aspect...". Georgia Rhoades suggests that the figures may represent the crone or an earth goddess from Celtic mythology.

Santa Maria in Àneu was the most important church in the Àneu Valley and belonged to the cathedral chapter of Urgell. From the stylistic circle of Pedret, of Lombardic influence, the decoration of the apse reveals the existence of an elaborate iconographic and theological programme setting off the prophetic hopes of the Old Testament—that is, hope in the coming of a Messiah who was to redeem humanity—against fulfillment of the prophecies—that is, the coming of the Messiah announced by the prophets.Post, Ch.R., A History of Spanish Painting, Cambridge, 1930, I, p. 136-140. Museu Nacional d'Art de Catalunya dates the original work at the end of 11th century – beginning of 12th century.

Decorative stone mouldings run along the walls, articulating the surfaces and defining the three registers of the iconographic programme. In the dome, Christ Pantocrator is surrounded by full-length figures in the drum. In the apse are depicted the Virgin and Child, frontal standing figures of hierarchs and, in the lower register, Saint George painted within a frame, like that of an icon, with his parents in roundels on either side. The cross arms are decorated with representations from the cycle of the Twelve Great Feasts (Nativity, Presentation of the Christ in the Temple, Baptism, Entry into Jerusalem, Ascension, Pentecost, Annunciation) and the walls are painted with portraits of soldier-saints and martyrs.

Two miniatures, of the Death of the Virgin and the Virgin Enthroned, are in a different fully painted technique and style, and follow Byzantine iconographic models, although the forms of the drapery are English in style.Haney, 125 The other miniatures are all closely related to one another in style, though some are of markedly higher quality than others. According to Heslop, this is deliberately done to reflect the social status of the subjects depicted;Heslop, 1990 Haney considers it may be the result of an artist working closely with a less skilled assistant.Haney, 2-4 Apart from the two "Byzantine" miniatures, all the others have borders of geometric ornament, onto which the central image sometimes impinges.

The main reading room Today the collections of the National Library are one of the largest in the country. Among 7,900,000 volumes (2004) held in the library are 160,000 objects printed before 1801, over 26,000 manuscripts (including 6,887 music manuscripts), over 114,000 music prints and 400,000 drawings. The library collections also include photographs and other iconographic documents, more than 101,000 atlases and maps, over 2,000,000 ephemera, as well as over 2,000,000 books and about 800,000 copies of journals from the 19th to 21st centuries. Notable items in the collection include 151 leaves of the Codex Suprasliensis, which was inscribed in UNESCO's Memory of the World Programme Register in 2007 in recognition for its supranational and supraregional significance.

In the iconographic representation of Pema Rigdzin herewith, within his right or upaya-hand he holds the stem of a lotus (Sanskrit: padma (attribute) sprouting from his heartmind chakra (Tibetan: khorlo) that functions as a dais for the Dharma, represented by a book or tomb, which in turn supports the flaming sword of prajna (Sanskrit) often seen as an attribute of Manjushri. Iconographically, flames denote 'spiritual power' in the Himalayan thangka twilight language tradition. In the sky above his head reside the Sun and Moon in balance, metonymic of the solar and lunar subtle channels of the subtle body. The Sun and Moon and clouds also form a simulacrum of the 'Face of Glory' (Sanskrit: kirtimukha).

Medieval iconography was a major topic of interest to Morey, leading him to draw up an image collection in 1917 of late antique, early Christian-era, and medieval works of art, a collection which would blossom into a cataloged collection of photographs known as the Index of Christian Art. Considered to be "indebted to photography", Morey's stance on the process of iconographic analysis has been attributed by scholars as contributing substantially to the formulation of Erwin Panofsky’s methodology of subject analysis.Hourihane, C., "Sourcing the Index: Iconography and its Debt to Photography," in Futures Past: Thirty Years of Arts Computing (Intellect Ltd., 2008) In 1929 Morey began cataloging the collection of the Museo Cristiano, part of the Vatican library.

Minor figures are depicted next to the goddess Cybele in about five of the niches (the poor state of conservation makes it impossible to exclude the possibility that there were originally more of these minor figures). These include Hermes, Attis, Hecate, the Dioscuri, the Galli and the Corybantes. Although the connection of these figures with the goddess can be reconstructed from many literary, epigraphic and monumental sources, the simultaneous presence of all of them is an absolutely unique feature of the Santoni, which is not known from any other example. Three iconographic schemata can be recognised in the combination of these minor figures, each of which is related to specific religious motifs known from Hellenistic and Roman monuments.

This painting has been regarded as a symbol of Italian Romanticism, of which it encompasses many features. On a more superficial level, the painting is the representation of a passionate kiss, which puts itself in accordance with the principles of Romanticism. Therefore, it emphasizes deep feelings rather than rational thought, and presents a reinterpretation and reevaluation of the Middle Ages in a patriotic and nostalgic tone. On a deeper level, the painting symbolizes the romantic, nationalist and patriotic ideals of the Risorgimento; this interpretation is endorsed by several iconographic elements. The imminent farewell between the lovers is suggested by the man’s foot temporarily resting on the step and the tight grasp with which his beloved is holding him.

The architectural writer Bridget Cherry wrote that "the sturdy exterior gives little hint of the fantasy [Burges] created inside", interiors which the art historian and Burges scholar Charles Handley-Read described as "at once opulent, aggressive, obsessional, enchanting, their grandeur border[ing] on grandiloquence". Each room has a complex iconographic scheme of decoration: in the hall it is Time; in the drawing room, Love; in Burges's bedroom, the Sea. Massive fireplaces with elaborate overmantels were carved and installed, described by Crook as "veritable altars of art ... some of the most amazing pieces of decoration Burges ever designed". Handley-Read considered that Burges's decorations were "unique, almost magical [and] quite unlike anything designed by his contemporaries".

Jorge Figueroa Acosta is a Mexican painter and sculptor born (April 23, 1942) in Cananea, Sonora, Mexico. He studied at the National School of Plastic Arts Academy of San Carlos, regarded as the best school of arts in Mexico, of the National Autonomous University of Mexico. Because his works, predominantly figurative, he's considered one of the representatives of the neofigurative tendency that in Mexico and some Latin American countries contributed to the rescue of the iconographic role of the figure, in a historical moment in which the abstraction has offered possibilities for artistic expression, albeit residual, to developers who saw in modernism an inexhaustible source of possibilities for the creation of theoretical frameworks to argue their artistic proposals.

Annie G. Hunter (1860 – 1927) was an English professional artist and illustrator, best known for her reproduction drawings of pre-Columbian Maya monuments and inscriptions. In the late 1890s Hunter was commissioned by the early Mayanist scholar Alfred Maudslay to provide drawings and watercolored illustrations of Maya monuments. (She worked from casts, lintels and stelae in museum holdings, and photographs.) Her illustrations appeared in Maudlay's pioneering archaeological and iconographic survey Biologia Centrali-Americana: Archaeology (London: R.H. Porter and Dulau, 1889-1902). Hunter's work provided an important basis for the study of Maya iconography and inscriptions in the early 20th century; her careful renderings provide scholars access to texts that otherwise would be difficult to study.

God the Father painting Our Lady of Guadalupe, an unusual Marian image, 18th century. Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist), they therefore acted as important references for other images in the tradition. They therefore were copied on an enormous scale, and the belief that such images existed, and authenticated certain facial types, played an important role in the conservatism of iconographic traditions such as the Depiction of Jesus.

River scenes suggesting the natural world and its lush vegetation begin to appear outside of Egypt contemporaneously with the 18th Dynasty, the first extant evidence coming from fresco fragments of the Minoans. The Aegean version of the nilotic landscape retains many key iconographic elements of the Egyptian version, but the Minoans often make the landscape itself the subject, emphasizing plants and wildlife over human figures (which are generally left out of the work). The compositions are characteristic of the Minoan artistic style, more irregular and informal. Attention is paid to detail and color with respect to plants and animals, but precisely drawn patterns seldom arise and the background and setting may be highly imaginative.

1), Fernand de Mély challenged the deeply ingrained opinion of Garrucci and Vopel that all examples of brushed technique gold glass were in fact forgeries. The following year, de Mély’s hypothesis was supported and further elaborated upon in two articles by different scholars. A case for the Brescia medallion’s authenticity was argued for, not on the basis of its iconographic and orthographic similarity with pieces from Rome (a key reason for Garrucci’s dismissal), but instead for its close similarity to the Fayoum mummy portraits from Egypt. Indeed, this comparison was given further credence by Walter Crum’s assertion that the Greek inscription on the medallion was written in the Alexandrian dialect of Egypt.

In the Panchala coins of Agnimitra, a deity is always present with a halo of flames. In Gupta sculptures, Agni is found with a halo of flames round the body, the sacred thread across his chest, a beard, pot-bellied and holding in his right hand a amrtaghata (nectar-pot). Many of these early carvings and early statues show just one head, but elaborate details such as ear-rings made of three fruits, a detailed necklace, a slightly smiling face wearing a crown, and flames engraved into the hairs at the back of Agni's statue. The iconographic statues and reliefs of god Agni are typically present in the southeast corners of a Hindu temple.

This sacramentary is not the product of a monastic scriptorium but reveals an origin in a court school. It contains only those liturgical sections that the bishop spoke. An example of the individual character of its iconography is the initial O for Palm Sunday prayers, which contains a Crucifixion of a new iconographic type, one that would be called christus patiens rather than the triumphant Christ on the cross (christus triumphans) that had been the norm. In the image, the dead and tortured body of Christ spouts water and blood, which are collected by a female figure recognizable as Ecclesia, the Church, in a chalice, that would become entangled with the Holy Grail legend in the future.

In Flanders at the close of the Middle Ages an intense devotion to the Precious Blood of Christ gave rise to an iconographic tradition of the 15th and 16th centuries, which rendered the theological concept of Grace,See Catholic Encyclopedia 1908: "Grace". expressing Roman Catholic dogma allegorically as a fountain of blood. This transformation was first addressed in Evelyn Underhill in 1910, taking her point of departure an Assembly of Saints and the Fountain of Life of 1596 in Ghent,Painted, probably by Lucas Horenbault for the Beguines of Ghent. in which blood from the five Holy Wounds of Christ flows into the upper basin of a "Fountain of Life"Inscribed "fonteyn des levens".

The day sign "Jaguar" from the Codex Laud. The representation of jaguars in Mesoamerican cultures has a long history, with iconographic examples dating back to at least the mid-Formative period of Mesoamerican chronology. The jaguar (Panthera onca) is an animal with a prominent association and appearance in the cultures and belief systems of pre-Columbian Mesoamerican societies in the New World, similar to the lion (Panthera leo) and tiger (Panthera tigris) in the Old World. Quick, agile, and powerful enough to take down the largest prey in the jungle, the jaguar is one of the biggest felids in Central or North America, and one of the most efficient and aggressive predators.

Despite a lack of direct textual references, tattooed human remains and iconographic evidence indicate that ancient Egyptians practiced tattooing from at least 2000 BCE. It is theorized that tattooing entered Egypt through Nubia, but this claim is complicated by the high mobility between Lower Nubia and Upper Egypt as well as Egypt's annexation of Lower Nubia during the Middle Kingdom. Archeologist Geoffrey J. Tassie argues that it may be more appropriate to classify tattoo in ancient Egypt and Nubia as part of a larger Nile Valley tradition. The most famous tattooed mummies from this region are Amunet, a priestess of Hathor, and two Hathoric dancers from Dynasty XI that were found at Deir el-Bahari.

The serial Buddhas that line the doors and walls inside the miniature building are in the iconographic tradition of the Thousand Buddhas. Sūtras on the Buddha names such as the Bussetsu Butsumyōkyō, first translated into Chinese in the sixth century, may be related to the practice of Butsumyō-e or invocation of the names of the Buddha. According to this text, which invokes the names of 11,093 Buddhas, Bodhisattvas, and Pratyekabuddhas, "if virtuous men and women receive and keep and read the names of the Buddhas, in the present life they shall have rest and be far from all difficulties, and they shall blot out all their sins. They shall obtain perfect wisdom in the future".

In Himalayan iconographic representations of the Bhavacakra such as within Tibetan Buddhism, the Three Fires are known as the Three Poisons which are often represented as the Gankyil. The Gankyil is also often represented as the hub of the Dharmacakra. Tsongkhapa, following Asanga, explains how the twelve nidanas can be applied to one life of a single person, two lives of a single person, and three lives of a single person. Discussing the three lifetimes model, Alex Wayman states that the Theravada/Sarvāstivāda interpretation is different from the Vajrayana view, because the Vajrayana view places a bardo or an intermediate state between death and rebirth, which is denied by the Theravadins and Sarvastivadins.

STL model of the teapot Through 3D printing, the Utah Teapot has come full circle from being a computer model based on an actual teapot to being an actual teapot based on the computer model. It is widely available in many renderings in different materials from small plastic knick-knacks to a fully functional ceramic teapot. It is sometimes intentionally rendered as a low poly object to celebrate its origin as a computer model. In 2009, a Belgian design studio, Unfold, 3D printed the Utah Teapot in ceramic with the objective of returning the iconographic teapot to its roots as a piece of functional dishware while showing its status as an icon of the digital world.

Based on iconographic evidence from coins, Morrison and Coates have determined that the Punic triremes in the 5th and early 4th centuries BC were largely similar to their Greek counterparts, most likely including an outrigger. From the mid-4th century, however, at about the time the quinquereme was introduced in Phoenicia, there is evidence of ships without outriggers. This would have necessitated a different oar arrangement, with the middle level placed more inwards, as well as a different construction of the hull, with side-decks attached to it. From the middle of the 3rd century BC onwards, Carthaginian "fives" display a separate "oar box" that contained the rowers and that was attached to the main hull.

It has been theorized that Neith's primary cult point in the Old Kingdom was established in Saïs (modern Sa el-Hagar) by Hor-Aha of the First Dynasty, in an effort to placate the residents of Lower Egypt by the ruler of the unified country. Textual and iconographic evidence indicates that she was a national goddess for Old Kingdom Egypt, with her own sanctuary in Memphis, indicating the high regard held for her. There, she was known as "North of her Wall", as counterpoise to Ptah's "South of his Wall" epithet. While Neith is generally regarded as a deity of Lower Egypt, her worship was not consistently located in that delta region.

Buddhist iconography throughout East and South-East Asia depict short-necked lutes being played by celestial beings as well as the Hindu goddess Saraswati, who led such divine musicians. Avatars of Sarasvati, "the biwa-playing Hindu goddess of music, wisdom, and eloquence", also play the lute in Tibetan and Chinese iconographic displays; such avatars correspond to Benzaiten, a Japanese deity known for holding a biwa in her benevolent arms.De Ferranti: 29 Japanese iconography indicates two female lute-playing deities: the aforementioned Benzaiten and Myōonten; their identities are often fused together, but both have their roots in the continental Asian tradition, and can be traced from Sarasvati through various forms.De Ferranti: 30-2.

68 This particular image appears to carry significant weight in Rubens's iconographic program for the cycle, as it appears in six (one quarter) of the twenty-four paintings of the cycle. This orb functions both as an allusion to the Roman orbis terrarum (sphere of earth) which signifies the domain and power of the Roman emperor, and as a subtle assertion of the claim of the French monarchy upon the imperial crown.Winner, pp. 70, 86 While Rubens was certainly aware of the inherent meaning of the orb and employed it to great effect, it appears that Marie and her counselors instigated its introduction into the cycle to add allegorical and political grandeur to the events surrounding Marie's regency.

Pepper is only one of a number of expensive, high-status spices which these vessels might have dispensed, however. The piperatoria are rare examples of this type of Roman silverware, and according to Johns the Hoxne finds have "significantly expanded the date range, the typology and the iconographic scope of the type". The trade and use of pepper in this period has been supported with evidence of mineralized black pepper at three Northern Province sites recovered in the 1990s, and from the Vindolanda tablets which record the purchase of an unspecified quantity of pepper for two denarii. Archaeological sites with contemporary finds have revealed spices, including coriander, poppy, celery, dill, summer savory, mustard, and fennel.

"Thracian horseman" votive tablet with the standard iconographic elements: the rider is holding a lance in his right hand aiming at a boar attacked by a hunting dog. Fragment from a Thracian horseman marble relief: the hunting dog attacking the boar The Thracian horseman (also "Thracian Rider" or "Thracian Heros") is the name given to a recurring motif of a horseman depicted in reliefs of the Hellenistic and Roman periods in the Balkans (Thrace, Macedonia, Moesia, roughly from the 3rd century BC to the 3rd century AD). Inscriptions found in Romania identify the horseman as Heros (also Eros, Eron, Herros, Herron), apparently the word heros used as a proper name.Hampartumian, Nubar. (1979).

Schele and Miller 1986 Mayan art history was also spurred by the enormous increase in sculptural and ceramic imagery, due to extensive archaeological excavations, as well as to organized looting on an unprecedented scale. On from 1973, M.D. Coe published a series of books offering pictures and interpretations of unknown Maya vases, with the Popol Vuh Twin myth for an explanatory model.Code 1973, 1975, 1978, 1982 In 1981, Robicsek and Hales added an inventory and classification of Mayan vases painted in codex style,Robicsek and Hales 1981 thereby revealing even more of a hitherto barely known spiritual world. As to subsequent developments, important issues in Schele's iconographic work have been elaborated by Karl Taube.E.g.

During his career he made a number of iconographic and formal innovations, and is today seen as the main innovator in bringing about a new style of Flemish illumination in the 1470s and 1480s.Pächt, 299 He was highly regarded by wealthy and powerful patrons in his lifetime, and followed by a great number of imitators.Pächt, 300 A small number of extant drawings are also attributed to him.van Buren, 292 The master's illustrations in the Hours of Mary of Burgundy can be characterised by the use of everyday devotional objects, including books and rosary beads, as well as domestic settings, to frame images of the Virgin and Child, thereby bringing the sacred into domestic, earthly spaces.

The odd positioning of the ram may perhaps be a convention the artists used to convey the distance that the Bible says separated Abraham and Isaac, from the two servant boys (Genesis 22:5), who accompanied Abraham and Isaac on their journey, and are depicted standing to the left. All the figures in the scene, except for the two servants, are identified with Hebrew labels. The iconographic significance of the "Binding of Isaac" is unclear. There is a wide variety of opinions, with some scholars seeing this narrative as an affirmation of God's mercy, others as symbolic of his continuing covenant with Israel, and others as embodying the rabbinic notion of "zechut avot" or the merit of the fathers.

A major additional problem with that hypothesis is that a trident would obscure the face, especially from the profile view, which most scholars (even those who have supported an identification as Poseidon) have held to be the most, or even the only, important view. Iconographic parallels with coins and vase painting from the same time period show that this obscuring pose is extremely unlikely. However, the trident may have been unusually short, avoiding the problem. On the other hand, the statue is essentially a larger version of an extensive series of smaller solid bronze figurines extending back into the late 7th century, all of which strike the same pose and represent Zeus.E.g.

Other paintings show allegorical figures and include Renaissance hieroglyphics, consisting in symbols of plants, animals, and objects with specific, but enigmatic, meanings. They reflect the particular interest in the esotericism of the Hermetic writings and the Chaldean Oracles that enthused many humanists following the publication in 1505 of Horapollo's Ἱερογλυφικά (), the book discovered in 1419 by Cristoforo Buondelmonti and believed to be the key for deciphering ancient Egyptian hieroglyphics.Broderick, 'Custodian of Wisdom...', pp. 20–21 The iconographic sources vary and include Pierio Valeriano's dictionary of symbols, (1556); popular emblem books such as Andrea Alciati's (1531) and Achille Bocchi's (1555); the divination game (1540) by ; as well as Vincenzo Cartari's mythographic manual for painters (1556).

Malaise and mystery are all by-products of the interaction of the real and the unreal, the rub and contact of two worlds caught on irrealism's shimmering surface." The writer Dean Swinford, whose concept of irrealism was described at length in the section "Irrealism in Literature", wrote that the artist Remedios Varos, in her painting The Juggler, "creates a personal allegorical system which relies on the predetermined symbols of Christian and classical iconography. But these are quickly refigured into a personal system informed by the scientific and organized like a machine...in the Irreal work, allegory operates according to an altered, but constant and orderly iconographic system." Artist Tristan Tondino claims "There is no specific style to Irrealist Art.

Jaguars of these two sites, El Baúl and Piedra Labrada, exhibit also aesthetic similarities as noticed in the 1960s by Miles. Sometimes, as in Xochicalco stele 3; Horcones stele 4 (Chiapas), and a ceramic figurine from Azoyú, Guerrero, Jaguars have bifid tongues, as if recalling a "heart devouring" ancient deity, depicted in the Teotihuacan murals of Atetelco. In 1986, when Carlos Navarrete registered the sculptural body of Cerro Bernal, was the first to propose the iconographic relationship between central Mexico and the Pacific coast, by associating the body glyph and iconography of the Horcones stele 3 with Xochicalco Stela 2. It is now known that this association followed the Guerrero and Costa Chica route, thanks to the two Tlaloc representations located in Chilpancingo.

The old entry hall, which originally formed the only part of the complex, has retained the paintings of 996 AD. The Vajradhatu mandala is seen in the New Assembly Hall after entering from the old entry hall where the main deity of Vajradhatu, Vairocana (height 110 cm), is shown seated on a single lotus throne on the back wall. The main iconographic deities here are the Vajradhatu and life-size clay sculptures with painted decorations complementing the main theme. The mandala also has 32 life-size clay sculptures of other deities which are embedded to the wall which merge well within the painted environment. The Protector Deity, Dorje Chenmo, originally known as Wi-nyu- nin, of the main temple was venerated in this hall.

It is difficult to ascertain to what extent Metzinger was influenced, moved, provoked or inspired by the works of Maeterlinck, Tchaikovsky, Stravinsky or d'Aulnoy. What does emerge is the closer iconographic detail visible in Metzinger's painting with the original version of L'Oiseau bleu (the first version, that also happens to be French, of 1697) by Madame d'Aulnoy. In fact, it is the only version of L'Oiseau bleu that appears to be mirrored iconographically in Metzinger's painting. The fact that the difficulty even exists attests to the diversity of Metzinger's interest in widely disparate subjects, widely faceted interests and sensitivities, ranging from women to fashion, from literature to science, in passing through mathematics, geometry, physics, metaphysics, philosophy, nature, classical music, opera, dance, theater, cafés, travel and poetry.

192 Although these forms are not well defined, they testament to the popularity of public interests at the time of its carving, providing an iconographic representation of the scene rather than a clearly literal interpretation. These sculptural themes are comparable to the churches of Sanfins de Friestas, Longos Vales and Bravães and suggest its completion in the middle of the 13th century. The lintel is inscribed with the presumed date of its construction, while in the tympanum is the figure of Christ surrounded by aureola. The representation of Christ is part of the first revivalist reproduction of the tympanum, while the serpentine lintel which is thin and less profound, is almost graffiti and less to do with the original form.

The serpent is a common feature in Ganesha iconography and appears in many forms: around the neck,For the story of wrapping around the neck and around the belly and for the name in his sahasranama as ("Who has a serpent around his neck"), which refers to this standard iconographic element, see: Krishan, Yuvraj (1999), Gaņeśa: Unravelling An Enigma, Delhi: Motilal Banarsidass Publishers, , pp=51-52. use as a sacred thread (Sanskrit: ')For text of a stone inscription dated 1470 identifying Ganesha's sacred thread as the serpent , see: Martin-Dubost, p. 202. wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne.For an overview of snake images in Ganesha iconography, see: Martin-Dubost, Paul (1997).

Later, Ray Kroc opened one in the northwest Chicago suburb of Des Plaines, Illinois on April 15, 1955, which has now been converted into the McDonald's Museum. It is noteworthy that the original McDonald's mascot was a hamburger faced cook called "Speedee" that would serve as the iconographic identity of the company until being replaced by the clown Ronald McDonald in 1963. The McDonald brothers intensively studied the existing kitchen protocol of their restaurants in an effort to improve them. They looked at different options that could increase the speed of cooking hamburgers, designing and patenting special grills that had a higher output, made their cutlery and other kitchen utensils disposable, and introduced dishwashers that reduced the costs of water, soap, and labor.

Moreover, while images of statesmen had provided the only pictorial content of pre-1869 issues, the large banknotes did not entirely exclude other representative images. Two denominations of the series accompanied their portraits with iconographic images appropriate to the statesmen they honored: rifles, a cannon and cannonballs appeared in the bottom corners of the 24-cent issue devoted to General Winfield Scott, while the 90-cent stamp framed Admiral Oliver Perry within a nautically hitched oval of rope and included anchors in the bottom corners of its design. National first printed these, then in 1873 Continental received the contract—and the plates that National used. Continental added secret marks to the plates of the lower values, distinguishing them from the previous issues.

Apse mosaic in the Santa Maria Maggiore The last great period of Roman mosaic art was the 12th–13th century when Rome developed its own distinctive artistic style, free from the strict rules of eastern tradition and with a more realistic portrayal of figures in the space. Well-known works of this period are the floral mosaics of the Basilica di San Clemente, the façade of Santa Maria in Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria in Trastevere (1140) depicts Christ and Mary sitting next to each other on the heavenly throne, the first example of this iconographic scheme. A similar mosaic, the Coronation of the Virgin, decorates the apse of Santa Maria Maggiore.

The first schema is employed in five of the reliefs and is characterised by the Galli (mythic and ritual priests of the goddess) and the Corybantes (mythical companions of the Galli), depicted as two small figures on either side of Cybele's head. They wear tunics, often with an overcloak and a Phrygian cap and carry their identifying symbols: a tympaneum in their left hand and a rod in their right. The combination of Cybele, Hermes and Attis seen in another relief is the second iconographic schema known from other Greek depictions. In this relief which is largely intact, Cybele is in an unusual position, standing with her arms outstretched with her left hand on Attis' head and her right hand on Hermes' head, in a protective gesture.

A set of statuettes from Priene, a Greek city on the west coast of Asia Minor, are usually identified as "Baubo" figurines, representing the female body as the face conflated with the lower part of the abdomen. These appeared as counterparts to the phalluses decorated with eyes, mouth, and sometimes legs, that appeared on vase paintings and were made as statuettes. Terracotta hermaphrodite figurines in the so-called anasyromenos pose, with female breasts and a long garment lifted to reveal male genitals have been found from Sicily to Lesbos, dating back to the late Classical and early Hellenistic period. The anasyromenos pose, however, was not invented in the 4th century BCE, figures of this type drew on a much earlier eastern iconographic tradition employed for female divinities.

The interior is divided into two sectors, accomplished by a partition: the first section has seating for 3,175 people (in addition to 58 spaces for handicapped); the second has 5,458 spaces (with 18 for handicapped). Meanwhile, the presbytery has a capacity for 100 celebrants. The structure include several chapels: the Chapel of the Sacred Heart of Jesus (), with 16 confessionals; the Chapel of the Immaculate Heart of Mary (), with 12 confessionals; the Chapel of the Resurrection of Jesus (), with space for 200 and 16 confessionals; Chapel of the Death of Jesus (), with space for 600; and the Chapel of the Holy Sacrament (), dedicated for Lausperene, a maximum of 200 continuous prayer venerates. The simple modernist design is both functional and iconographic to express its religiosity.

In 1907 the architect Gabriel Kielland (1871–1960) won a competition for new paintings for Nidaros Cathedral's southern gable. In addition Kielland delivered proposals to all of the church windows, and received the commission to create the stained glass windows. The paintings are iconographic imagery which were produced in collaboration with Oluf Kolsrud (1885–1945), professor of church history. The themes are from the Bible stories and Saint's legends, the windows on the north side of the church have a blue background and shows predominantly scenes from the Old Testament, the windows on the south side of the church have a red background and shows a corresponding predominance of scenes of the New Testament, while the rose window motif that faces the sunset (west), symbolizes doomsday.

An early depiction of Brahma, on the Bimaran casket, early 1st century CE. British Museum."The Bimaran Reliquary, a Gandharan work, which is now housed in the British Museum, London, is of great historical and iconographic significance. It shows Buddha in the centre, attended by Brahma to his right and Indra to the left." in "Standing Buddha in the arched compartment, flanked by figures of Brahma and Indra standing in similar compartments, detail of the side of Bimaran gold casket" in One of the earliest mentions of Brahma with Vishnu and Shiva is in the fifth Prapathaka (lesson) of the Maitrayaniya Upanishad, probably composed in late 1st millennium BCE. Brahma is first discussed in verse 5,1, also called the Kutsayana Hymn, and then expounded in verse 5,2.

In 1835 he was made professor of archæology at the University of Munich, of which he was twice rector. In 1827 he was made clerk, in 1830 assistant, and in 1841 curator of the royal cabinet of coins. He also worked on the numismatic collection of Vienna and prepared a critical catalogue of 18,000 Greek coins and a numismatico-iconographic lexicon with drawings of about 6000 Greek coins belonging to the Viennese and Munich collections. In 1834 he published the work Numismata nonnulla græca, which corrected false and inexact designations of coins; this was crowned with a prize by the Academy of Paris as was also his important investigation concerning what are called the rainbow patina, which he was the first to recognize as Celtic.vol.

The Caturasiti- siddha-pravrtti (CSP), “The Lives of the Eighty-four Siddhas”, compiled by Abhayadatta Sri, a Northern Indian Sanskrit text dating from the 11th or 12th century, comes from a tradition prevalent in the ancient city-state of Campa in the modern state of Bihar. Only Tibetan translations of this Sanskrit text seem to have survived. This text was translated into Tibetan by sMon grub Shes rab and is known as the Grub thob brgyad cu rtsa bzhi’i lo rgyus or “The Legends of the Eighty-four Siddhas”. It has been suggested that Abhayadatta Sri is identical with the great Indian scholar Mahapandita Abhayakaragupta (late 11th–early 12th century), the compiler of the iconographic compendiums Vajravali, Nispannayogavali, and Jyotirmanjari.

In verse 15, in an iconographic description of the Great Goddess, the text states Devi carries a noose, a goad, a bow and arrow, and enchants all. According to verse 18, she is venerated because Devi is eight attendant deities of Indra ("Vasus"); the eleven Rudras; and the twelve Adityas or sun gods representing each month of a year. She represents all gods who consume the Vedic ritual drink Soma or those who choose not to. She is also all the goblins, the demons, the evil beings, the ghosts, the super-human and the semi-divine, the planets, stars and all that shines in the sky, she is time and its divisions, she is everything that was, is and will be in the universe.

Until the 2010s, Holy Family with Saint John the Baptist and an Angel had been considered as a work from Sodoma's early period, predating his journey to Rome in 1509, but stylistic and iconographic examinations from 2017 have established that it has much more probably been painted in Siena in the second half of the 1530s. The Holy Family with Saint John the Baptist and an Angel is one of Sodoma's multiple variations on the extended theme (Holy Family, Holy Family with John the Baptist, Holy Family with John the Baptist and an angel), and quite characteristic for his style. One original aspect of the Strasbourg version is the unusual posture of the (rather feminine) angel, who appears to hold John the Baptist in a motherly fashion.

Pinelli's watercolor of the Church of Domine Quo Vadis, Rome Achille Pinelli (1809 – 5 September 1841) was an Italian painter. Born in Rome, he was the son of the painter Bartolomeo Pinelli and his wife Mariangela Gatti. Pinelli has left about two hundred watercolors painted between 1826 and 1835, preserved in the Museo di Roma, representing the facades of many churches in Rome. Liliana Barroero and Daniela Gallavotti Cavallero describe the paintings as "remaining useful iconographic documents for edifices that have been lost or since modified, and a frank description of the daily habits of Rome in the first decades of the nineteenth century: processions of sacconi, sentenced to death; street vendors; monks; nuns; police; civilians; children's games; beggars—all animate a lively and populous city".

According to many archaeologists, "the altar is seen as a locus of a piling on of ritual goods is a constant theme in the programs of iconographic decoration worked into Maya pedestals and table altars." The image of the altar being used as a piling for ritual goods is reminiscent of one of the other purposes of the altar: to honor the dead. On Todos Santos, or All Saints Day, people welcome back the souls of their departed loved ones by offering altars or ofrendas, commemorating them (Read 158-161). These altars include pictures of the deceased, food they enjoyed in life, statues of the Virgin Mary, pictures of saints, marigolds, paper cut-out figurines of skulls, and many other items.

The main element of the composition is formed by the diagonal of the mount’s slope with jagged rock faces and blossoming spring vegetation. The picture represents a traditional iconographic arrangement with the praying Christ and three sleeping apostles: St Peter, St John and St James. Three accurately portrayed birds (a goldfinch, bullfinch and crested lark or hoopoe) evidently originate in English or French book painting. The goldfinch is often associated with the martyrdom of Christ, because it feeds on the seeds of thistles and metaphorically represents Christ’s crown of thorns. In medieval legend, the bullfinch is associated with the Crucifixion and its red breast with drops of Christ’s blood refers to the moment the bullfinch pulled out a nail from the cross with its beak.

Not only are the poses and outfits remarkably similar to those on the statue, but it is also a fairly unusual design among representations of the Graces up to that time. Canova's painting and the IMA's sculpture conform to many of the goddesses’ traditional iconographic features, such as the flat composition and the intimate physical contact between them (here illustrated by the linked hands, closeness of the bodies, and the seemingly imminent placement of the wreath). It can be distinguished from the Greco-Roman tradition by several details, most notably the clothing. Ancient depictions of the Graces showed them almost exclusively in the nude and nearly always in a linear arrangement with the central figure embracing the outer figures but oriented in the opposite direction.

The work was commissioned by Pierre Corpici, a cloth-merchant who knew Barthélemy's stepfather, and combines influences from the Early Netherlandish art of Robert Campin and Jan van Eyck with those of Claus Sluter who worked at Dijon, and Colantonio from Naples (although some see this last influence as flowing in the other direction). Many of the iconographic details follow those from Annunciations by Jan van Eyck and his circle, such as the Washington Annunciation. Together with a fine portrait dated 1456 (Lichtenstein Collection, Vienna), and a fragment with a small crucified Christ in the Louvre, this is the only surviving panel painting associated with Barthélemy d'Eyck; most of his later works are illuminated manuscripts commissioned by René of Anjou.

Especially in the early part of the period, works in the so-called "minor arts" or decorative arts, such as metalwork, ivory carving, enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture.Heslop traces the beginning of the change to "around the twelfth century", quoted, 54; Zarnecki, 234 Medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church. These sources were mixed with the vigorous "barbarian" artistic culture of Northern Europe to produce a remarkable artistic legacy. Indeed, the history of medieval art can be seen as the history of the interplay between the elements of classical, early Christian and "barbarian" art.

The study is largely iconographic, presenting a pictorial evidence that many of the artists who painted or printed commedia images were in fact, coming from the workshops of the day, heavily ensconced in the maniera tradition. The preciosity in Jacques Callot's minute engravings seem to belie a much larger scale of action. Callot's Balli di Sfessania (literally, dance of the buttocks) celebrates the commedia's blatant eroticism, with protruding phalli, spears posed with the anticipation of a comic ream, and grossly exaggerated masks that mix the bestial with human. The eroticism of the innamorate (lovers) including the baring of breasts, or excessive veiling, was quite in vogue in the paintings and engravings from the second School of Fontainebleau, particularly those that detect a Franco-Flemish influence.

Korotkin, Joyce B. "The Figure: Another Side of Modernism," NY Arts, December 2000, p. 16–17. They emphasized the minimal nature of Zlamany's work, which had long eschewed architecture and landscape elements and iconographic cues in favor of composition, proportion, ground color and manner of representation as means of conveying narrative or psychological content. During this time, Zlamany also produced portraits of artists Leonardo Drew, David Humphrey, David Hockney, and Alex Katz among others; the latter two were National Portrait Gallery competition selections. In 1998, Zlamany painted portraits of her pregnant sister and two sets of self-portraits, one nude and one in profiled poses recalling works by della Francesca; her 2007 show "Facing Family" featured portraits of her parents and daughter.

The Ricardo Brennand Institute's collection includes historic and artistic objects from a wide range of periods, from the Late Middle Ages to the 21st century. It contains historic and iconographic documents related to the colonial period and Dutch Brazil, which includes an important collection of paintings made by Dutch artist Frans Post (1612–1680), one of the members of the company of John Maurice, Prince of Nassau-Siegen, who led the New Holland colony in Pernambuco. In 1952, on a trip to England, Brennand purchased many weapons that would later be included in the museum's collection; he acquired many of the items in the museum from auctions and other private collections. In 2003 Queen Beatrix of the Netherlands visited the museum.

Noteworthy is a set of drawings by the Dener Pamplona de Abreu, an icon of Brazilian fashion from the 60s and 70s, as well as the Vicente Di Grado Collection, composed of over 300 books illustrated by the former student, teacher and director of the Fine Arts. In the architectural collection, the museum highlights the Eduardo Kneese de Mello Collection, composed of more than 8,000 objects, including Architectural drawings, mockups, photography, slides and documents bequeathed by the architect and former professor of the institution. The historical collection is gathered at the Fine Arts Memory and Documentation Center (Cedoc), linked to the Luciano Octavio Ferreira Gomes Cardim Library, which aims to preserve and disseminate the textual and iconographic documentation of the Fine Arts University Center.

Gabriel the Archangel, 1697–99, Lviv National Museum Ivan Rutkovych (), born about 1650s. in Bilyi Kamin, near Zolochiv, Lviv region, Ukraine, died after 1708, was a Ukrainian icon painter who worked mostly in Zhovkva and Univ. He is considered a founder of Zhovkva Iconographic School of painting and wood carving. Some of Rutkovych's work was lost, but there is still a significant amount of well-preserved icons, as well as iconostases, made by Rutkovych together with other masters. There are iconostases of the wooden churches in Volytsia Derevlianska (1680–82), Volia Vysotska (1688–89); the large (10,85 х 11,87 m) iconostasis of the Church of Christ's Nativity in Zhovkva (also known as iconostasis from Nova Skvariava) (1697–99), now in Lviv National Museum.

" The album cover depicts the Callanish Stones on the Isle of Lewis, a Neolithic site with a cruciform layout that predates Christ by at least 2,000 years. Cope had been photographed lying next to the monument on the cover of the Peggy Suicide single "Head"; the sleeve of Jehovahkill, in contrast, uses a golden aerial plan of the monument on a vivid drue backdrop. In his book How the Neolithics Influenced Rock 'n' Roll, Andrew Johnstone called the cover design a "bold iconographic approach," writing that "[t]he isolation of the monument's structure emphasises its completeness and the dramatic statement the builders made far greater than a photograph would. The monument moves away from being a stone structure, to that of being a motif or logo.

E. Kessler, Dionysian Monotheism in Nea Paphos, Cyprus: "two monotheistic religions, Dionysian and Christian, existed contemporaneously in Nea Paphos during the 4th century C.E. [...] the particular iconography of Hermes and Dionysos in the panel of the Epiphany of Dionysos [...] represents the culmination of a pagan iconographic tradition in which an infant divinity is seated on the lap of another divine figure; this pagan motif was appropriated by early Christian artists and developed into the standardized icon of the Virgin and Child. Thus the mosaic helps to substantiate the existence of pagan monotheism." [(Abstract ) The Hypsistarians were a religious group who believed in a most high god, according to Greek documents. Later revisions of this Hellenic religion were adjusted towards Monotheism as it gained consideration among a wider populace.

Although these portraits, especially the portraits depicting more ancient emperors, are often considered imaginary, they compare well to portraits in other, older manuscripts and do carry iconographic value. The portraits are not naturalistic, but prominent features of each emperor, such as the shape or absence of their beards and the shapes of their eyebrows or noses, can be indicate that the creator of the portraits was attempting to faithfully depict the emperors in the manuscript. The many different beards and distinct features of some emperors were not drawn for a sake of variety, but likely based on other then-existing manuscripts or textual sources. The portraits of the Palaiologan dynasty (the final imperial dynasty, ruling from the 13th to 15th centuries) emperors in the codex accord well with portraits in other sources.

The art historian Paul Vandenbroeck proposed in 1981 that the works created in the workshop should be attributed to the 'Verbeeck group', due to the close proximity in composition, style and iconographic language applied. Vandenbroeck felt it was impossible and meaningless to attempt to distinguish between individual family members such as Frans and Jan Verbeeck and attribute these paintings to one or the other artist. Despite the difficulty of distinguishing between the artists in the Verbeeck group, some works have been attributed specifically to Frans Verbeeck. The composition The Mocking of Human Follies (Auctioned at Dorotheum, 21 October 2014, lot 33) was listed in 2003 in the catalogue of exhibition 'De Zotte Schilders' ('The Mad Painters') as a painting by Frans Verbeeck, with the addition 'de Oude', which translates to 'the Elder'.

The iconographic inventory of the volcano Orosí seems to originate from a local convention of stone processing which is embedded into the traditions of the Greater Nicoya region. Additionally, the iconography of the Pedregal site also imitates Mesoamerican and South American patterns. They witness a broad variety of transcultural interrelationships maintained by the indigenous societies of Costa Rica before the arrival of European conquerors. A large number of the site’s petroglyphs can also be recognized on the pre- Columbian ceramics originating from northwest Costa Rica. Their classification indicates a considerable number of motifs dating back to the early Tempisque- Bagaces period (500 BD - 800 AD) whereas a minor iconographical corpus may be associated to the later Sapoá-Ometepe (800-1530 AD) era (Stone and Künne 2003: 205; Künne and Baker 216: 273). Fig.

With this in mind the painter included many Christian iconographic references. Two examples from the painter's private notes: Firstly, in keeping with the fifteenth century tradition, Chudley has been depicted in the role of the doner; kneeling in prayer with his attention transfixed upon the body of Christ. Secondly, the painter has included himself in the painting not as an ego motive but as a reflection of the Horation adage; 'the painter must live through his subjects’ actions so that their depiction is emotionally convincing. Chudley was introduced to Folley in 1976 when he was curate-in- charge of the Plymouth parish of Leigham and Glenholt where the painter had a studio. At the time, the painter was painting his version of the crucifixion inspired by Hieronymus Bosch’s The Garden of Earthly Delights.

The full-blown classicism of the painting style and iconographic parallels with Roman wall painting led 19th-century scholars to date the manuscript to the early 6th century. In the early 20th century, however, Hugo Buchthal and Kurt Weitzmann, took issue with the Late Antique dating, conclusively demonstrating that the fully realized, confident classicism and illusionism of the miniatures were the product of the 10th century, thereby extending the persistence of classical art in Byzantium well into the Middle Ages. The majority of the full-page illuminations depict key scenes from the life of King David. The iconography of the miniatures alludes to David's authorship of the psalms, but scenes like Samuel anointing David and the Coronation of David by Saul emphasize the former's status as a divinely-appointed ruler.

At times, he would have artists travel with him for this purpose; when Jahangir was in Rahimabad, he had his painters on hand to capture the appearance of a specific tiger that he shot and killed, because he found it to be particularly beautiful. The Jesuits had brought with them various books, engravings, and paintings and, when they saw the delight Akbar held for them, sent for more and more of the same to be given to the Mughals. They felt the Mughals were on the "verge of conversion", a notion which proved to be very false. Instead, both Akbar and Jahangir studied this artwork very closely and replicated and adapted it, adopting much of the early iconographic features and later the pictorial realism for which Renaissance art was known.

Among those that can be seen today are the coat of arms of the Worshipful Company of Dyers, and a shield carrying the Latin motto which literally translates to "Fame is equal to the toil". The motto, which comes from the Satires of Horace, has been taken out of context as in the poem Horace explains that fame never corresponds to the effort one has made. The art historian Eric Fernie suggests the style of the chapel is firmly within the palatial tradition of two-storey chapels along with the Palatine Chapel, Aachen, La Sainte-Chapelle and the Royal Chapel of St Stephen. In contrast archaeologist Roberta Gilchrist suggests that the design was influenced by the "visual culture of medieval death", its architecture holding additional iconographic meaning connected to its use for storage of charnel.

He argues that the Vishnu Smriti is the work of a single Brahmin expert in the Dharmaśāstra tradition and also a devotee of Vishnu. Olivelle shows that the text was very likely composed between 700 and 1000CE, based on several factors: 1) the centrality of written documents and events which occurred in the Common Era being cited within the text, 2) the vocabulary used (for example, the word pustaka, which was first used by a sixth-century astronomer), 3) the fact that the Vishnu Smriti is the only Dharmaśāstra to mention satī or to deal comprehensively with tīrthas, and 4) unique iconographic correlations between descriptions of Vaishnava images in the text and specimens found only after the eighth century in Kashmir.Olivelle 2007, passim and pp. 157-159 on the iconography issue.

One is King Arthur's Round Table, which here makes its appearance in world literature for the first time, and the other is the Breton belief that Arthur still remains in Avalon. There may, however, be quite a different reason for giving Arthur a Round Table, since there is good iconographic evidence to suppose that round or semi-circular tables were commonly used before Wace's time for ostentatious feasts. Other minor sources of the Brut include the Bible, Goscelin's life of St. Augustine of Canterbury, the Historia Brittonum, William of Malmesbury's Gesta Regum Anglorum, Geoffrey Gaimar's earlier translation of the Historia Regum Britanniae, and such chansons de geste as the anonymous Gormond et Isembart. Certain changes he made in geographical details suggest that Wace also drew on his personal knowledge of Normandy, Brittany and southern England.

Several important studies have been conducted on the composition of the glass used in the tesserae for these mosaics as the unusually bright color of the gold-ground tesserae and the deep brilliance of the colors combine with important stylistic qualities to make these mosaics unique One of the factors that identifies mosaics from different areas is the variance in glass used. The glass can be crafted locally or imported from other areas; in the case of Daphni, it is believed the glass was created on site. This group of mosaics is considered one of the most important and best- preserved mosaic cycles from this period. They are evidence of the iconographic and stylistic conceptions formulated at the end of the iconoclastic crisis (AD 843) by the Church of Constantinople.

On the left of this scene is still visible the image of St. Peter bishop, owner of the building, sitting on a bench and with the attribute of the keys. It is a cycle of considerable stylistic level and of great interest, also iconographic, with overabundance of elegant cartouches, sometimes furnished with a colored initial. Substantial are still the stylistic and thematic references to the world of Jaquerian frescoes with other aspects that recall certain visible developments in the Novarese painting, as shown by the general structure and certain details such as the seated Virgin, with a polygonal perspective base (cycles of Novara or Casalvolone). But the most direct stylistic reference is with the cycle discovered in the summer of 2007 in the parish church of San Giovanni di Torre Canavese.

In other sculptures these implements cannot be made out, but the general similarity between the reliefs and light traces of figural relief suggest that they were once present. Two iconographic postures are used: that of the goddess seated on her throne, often within a naiskos (shrine), which is characteristic of north Ionic and south Aeolic depictions; and that of the goddess standing upright, which is more typical of southern Ionia. Both models can be seen also in Phrygian rural sculpture and in some parts of Asia Minor very similar and nearly contemporary depictions can be found in rural sanctuaries of Magna Mater. The closest parallels are the sanctuary of Meter Steunene of the Aizanoi in Phrygia, the small sanctuary of Kapikaya near Pergamon and the sacred complex of Panajir Dagh near Ephesus.

Pact of Judas, Giovanni Canavesio Canavesio took advantage of two iconographic traditions: the representation of the Pact per scene, with Judas concluding it the priests, and the payments of the thirty silver coins. The representation of payment prevails in earlier Savoyard cycles, and the conclusion of Pact with the priests also appears in paintings in the chapel of the castle of La Manta. In the first part, Canavesio represents Judas offering to deliver Christ to the Jews while he raises his finger with a scroll issuing from his mouth and shakes hands with a priest. A devil hanging from his belt pushes Judas and holds his moneybag, in accordance with the Gospel of Luke (22:3) that says "Satan entered into Judas" just before Judas met with the priests.

Flowers, the wearing of white robes or white dresses recalling Baptism, rites such as the laying on of hands, and vibrant singing play prominent roles on these joyous occasions, the blossoming of Spring forming an equal analogy with the blossoming of youth. The typical image of Pentecost in the West is that of the Virgin Mary seated centrally and prominently among the disciples with flames resting on the crowns of their heads. Occasionally, parting clouds suggesting the action of the "mighty wind", rays of light and the Dove are also depicted. Of course, the Western iconographic style is less static and stylized than that of the East, and other very different representations have been produced, and, in some cases, have achieved great fame such as the Pentecosts by Titian, Giotto, and el Greco.

A secular iconography in the Western and in the Eastern Churches reflect the belief of the presence of the Blessed Virgin Mary in day of Pentecost and her central role on the divine concession of the gift of the Holy Spirit God to the Apostles. confirms the presence of the mother of Jesus with the Twelve in a spiritual communion of daily prayer. It is the unique reference to the Mother of God after Jesus' entrusting to St. John the Evangelist and the Apostle at the feet of the cross, an episode known as Ecce homo. According to that iconographic tradition, the Latin encyclical Mystici Corporis Christi officially stated: The Roman Catholic and the Orthodox Church recognize to the Mother of God a special form of veneration called with the Greek word hyperdulia.

Title page of Descripción de las Indias, first edition, 1601, with iconographic engravings of indigenous people. It includes the only known portrait of the author. Herrera's historiography of the Americas began with his Descripción de las Indias, published in 1601, in which he included various maps and foldout pages. In spite of its being considered an independent work, as that is how it was published, it serves as the introduction to his Décadas, establishing a pattern often imitated by twentieth century writers: he treats the geographical matters in the strictest sense of the word, such that it serves as a helpful tool for understanding the history he would publish subsequently, describing the locations of significant places and the lay of the land as the setting in which the history played out.

The sanctoral presents a liturgical year through the commemoration of saints. Finally, votive masses (a mass for a specific purpose or read with a specific intent by the priest), different prayers, new feasts, commemoration of recent saints and canonizations were usually placed at the end of the missal. Iconographic analysis of the missals of the Diocese of Paris from the 13th-14th centuries shows the use of certain traditional images as well as some changing motifs. Among the former group, some types of initials, including the introit to the First Sunday of Advent; to the preface of the mass for Holy Week; to the masses for saints, containing their images, but also the rich illumination of two pages of the missal in full size: the Crucifixion of Jesus and Christ in Majesty.

Dismissal of Hagar and Ishmael (1653), Metropolitan Museum of Art In his early years as an independent artist in the early 1650s Maes painted a few biblical and mythological scenes. These include the Suffer the little Children to come unto Me (1652/3, London, National Gallery), Vertumnus and Pomona (possibly 1653, National Gallery of Ireland, Dublin) and Woman of Samaria at the Well (1653, Russell collection, Amsterdam). Maes' biblical compositions were clearly indebted to his master Rembrandt's models but show at the same time that he was capable of interpreting the Bible and the iconographic precedents in an original manner. For instance, in the Dismissal of Hagar and Ishmael (1653, Metropolitan Museum of Art, New York) Maes portrays Abraham banishing the handmaiden Hagar along with their son, Ishmael.

It is divided into four parts by the two vertical corridors joining each other. Forms of different geometry are contained in each of the four parts that are created: a cylinder in the inside is a helix staircase, a prismatic roof, a quadrangular pyramid and a series of polygonal apertures on the roof of a parallelepiped protrusion on church’s wall. Materials: The structural form of the building is reinforced concrete, with undulating glass surfaces located on three of the four exterior faces, which were designed by Iannis Xenakis. The use of the light: The gradual path from the natural landscape to the interior of the sanctuary, where there is no iconographic representation rather than the view of natural light, is at the same time a continuous removal of the visual phenomena from "out" to "in".

After over eight centuries of foreign rule within the region, the Iranian hegemony was reestablished by the emergence of the Safavid Empire in the 16th century. Under the Safavid Empire, focus on Persian language and identity was further revived, and the political evolution of the empire once again maintained Persian as the main language of the country. During the times of the Safavids and subsequent modern Iranian dynasties such as the Qajars, architectural and iconographic elements from the time of the Sasanian Persian Empire were reincorporated, linking the modern country with its ancient past. Contemporary embracement of the legacy of Iran's ancient empires, with an emphasis on the Achaemenid Persian Empire, developed particularly under the reign of the Pahlavi dynasty, providing the motive of a modern nationalistic pride.

After the appearance of the Virgin and its iconographic identification with this biblical event, the festival began to be celebrated with a Marian character in the year 1497, when the conqueror Alonso Fernández de Lugo celebrated the first Candlemas festival dedicated especially to the Virgin Mary, coinciding with the Feast of Purification on February 2. Before the conquest of Tenerife, the Guanche aborigines celebrated a festivity around the image of the Virgin during the Beñesmen festival in the month of August. This was the harvest party, which marked the beginning of the year. Currently, the feast of the Virgin of Candelaria in the Canary Islands is celebrated in addition to February 2 also on August 15, the day of the Assumption of the Virgin Mary in the Catholic calendar.

An example of Nahuatl writing of three place names The Aztecs did not have a fully developed writing system like the Maya, however like the Maya and Zapotec, they did use a writing system that combined logographic signs with phonetic syllable signs. Logograms would, for example, be the use of an image of a mountain to signify the word tepetl, "mountain", whereas a phonetic syllable sign would be the use of an image of a tooth tlantli to signify the syllable tla in words unrelated to teeth. The combination of these principles allowed the Aztecs to represent the sounds of names of persons and places. Narratives tended to be represented through sequences of images, using various iconographic conventions such as footprints to show paths, temples on fire to show conquest events, etc.

DR BR42) featuring a figure above a horse flanked by a bird Swedish Vendel era helmet featuring a figure riding a horse, accompanied by two ravens, holding a spear and shield, and confronted by a serpent References to or depictions of Odin appear on numerous objects. Migration Period (5th and 6th century CE) gold bracteates (types A, B, and C) feature a depiction of a human figure above a horse, holding a spear and flanked by one or more often two birds. The presence of the birds has led to the iconographic identification of the human figure as the god Odin, flanked by and . Like 's Prose Edda description of the ravens, a bird is sometimes depicted at the ear of the human, or at the ear of the horse.

Boston Now: Sculpture; Emerging Massachusetts Painters (Boston: Museum of Fine Arts, 1984), 66–7. According to Joseph Masheck, formerly Editor-in-chief of Artforum, "Borysewicz is essentially an abstract painter, but on behalf of a religious thematic his works have long been able to accommodate iconographic signs (Western sense). At the same time, as one who has executed an altarpiece and a processional cross for the Brooklyn Oratory (spiritual equipment, one could say), Borysewicz has always struck me as the contemporary painter best attuned to the Byzantine, and then Orthodox, icon as a highly abstract image capable of tendering a spiritual, even devotional, stance in virtue of its highly stylized semiotic."Joseph Masheck, "Mentors, Muses and Mystery: Alfonse Borysewicz at First Things Gallery," Art Critical May 5, 2017.

This is "the first monumental representation of Christ's Transfiguration to be entirely free of the traditional iconographic context",Schiller, I, 152 though it can be said to retain and re-invent the traditional contrast between a mystical and still upper zone and a flurry of very human activity below. The floating Christ inevitably recalled the composition of depictions of his Resurrection and Ascension, an association which Raphael and later artists were happy to exploit for effect. The so- called Dalmatic of Charlemagne in the Vatican, in fact a 14th or 15th century Byzantine embroidered vestment, is one of a number of depictions to include the subsidiary scenes of Christ and his disciples climbing and descending the mountain,Schiller, I, 150 which also appear in the famous icon by Theophanes the Greek (above).

Unlike the Roman public cults, but like the other mysteries, the temples of the cult of Jupiter Dolichenus were nominally closed to outsiders and followers had to undergo rites of initiation before they could be accepted as devotees. As a result, very little is known about the cult's beliefs and practices from the few clues that can be obtained from the sparse iconographic, archaeological or epigraphic evidence. The cult gained popularity in the 2nd century AD, reached a peak under the Severan dynasty in the early 3rd century AD, and died out shortly thereafter. At least nineteen temples (including two discovered in 2000) are known to have been built in Rome and the provinces which, while substantial, is far below the popularity enjoyed by the comparable pseudo-oriental cults of Mithras, Isis or Cybele.

The experience of exile and restoration itself brought about a new world view in which Jerusalem and the House of David continued to be central ingredients, and the destruction of the Temple came to be regarded as a demonstration of Yahweh's strength.Izaak J. de Hulster, "Iconographic Exegesis and Third Isaiah", pp.136-7 Possibly the single most important development in the post-Exilic period was the promotion and eventual dominance of the idea and practice of Jewish exclusivity, the idea that the Jews (meaning followers of the god of Israel and of the law of Moses) were or should be a race apart from all others. According to Levine, that was a new idea, originating with the party of the golah, those who returned from the Babylonian exile.

Chidambaram was the early capital of this dynasty, and Shiva Nataraja was their family deity. The Chidambaram temple town remained important to the Cholas, albeit with increasing competition from other temple towns when Rajaraja Chola I moved the capital to Thanjavur, built a new city and the massive Brihadeeswarar Temple dedicated to Shiva in early 11th century, which is now a world heritage site.Thanjavur, Encyclopædia Britannica Nataraja Shiva and his "dance of bliss" is an ancient Hindu art concept. It is found in various texts such as Tatva Nidhi which describes seven types of dance and their spiritual symbolism, Kashyapa Silpa which describes 18 dance forms with iconographic details and design instructions, as well as Bharata's ancient treatise on performance arts Natya Shastra which describes 108 dance postures among other things.

But it is in the wall paintings of the church of St. Augustine in Cordoba where Vela's best work with his paintings of archangels, now located in the Museum of Fine Arts, Córdoba and church of Santa Marina, or the different versions that made the theme of the Immaculate in the altarpiece of Our Lady of the Rosary in Priego de Córdoba, parish of San Pedro and sotacoro of the same church of San Agustín de Córdoba, which follows the iconographic indications Francisco Pacheco. Many of Vela's works are now lost while several suffered irretrievable damage wrought by unskilled restoration. The few surviving masterpieces include his prophet series for the convent of St. Augustine. Vela died in 1658 when he fell into a well at his house while quenching his thirst and drowned.

Hours of Joanna I of Castile f. 29r The most innovative parts of the manuscript are lavishly illuminated and found in two different iconographic cycles: the Hours of the Cross and the Hours of the Virgin. The Hours of the Cross contain fourteen miniatures arranged in pairs which depict the Passion of Christ from the entrance into Jerusalem to the holy burial. The Hours of the Virgin contain eight pairs of miniatures, most of which feature an episode from Our Lady’s life from the Annunciation to the Crowning, together with the occasional related episode from the Old Testament. The manuscript’s finest miniatures are to be found in these two cycles, in which the artist reduces the text inserts to a minimum, sometimes just two lines, to leave as much room as possible for the illumination.

A new form of the image, which from the rare early versions seems to have been formulated in 6th-century Palestine, was to set the essential form of Eastern Orthodox images down to the present day. The setting is now a cave - or rather the specific Cave of the Nativity in Bethlehem, already underneath the Church of the Nativity, and well-established as a place of pilgrimage, with the approval of the Church. Nativity at Night ( 1490) by Geertgen tot Sint Jans Western artists adopted many of the Byzantine iconographic elements, but preferred the scriptural stable to the cave, though Duccio's Byzantine-influenced Maestà version tries to have both. During the Gothic period, in the North earlier than in Italy, increasing closeness between mother and child develops, and Mary begins to hold her baby, or he looks over to her.

Map showing Mesoamerican obsidian sources, as well as the sources of other important semi-precious minerals. Obsidian use in Mesoamerica goes back to the earliest times, and there were extensive trade routes Routes from the Gulf of Mexico Mountains and the center of Oaxaca seem to have been constantly open to circulation, since at least the early preclassical period; the Pacific route was apparently blocked at different points, between Chiapas and Oaxaca, for example, during the postclassical period by the Mixtec kingdom of Tututepec on the eve of the Spanish Conquest. One group of epiclassical sculptures indicates iconographic relationships between Morelos and Guerrero, with examples also found in Pacific Coastal Chiapas and Guatemala. According to Fray Bernardino de Sahagún (1989:267) Mesoamerica prehispanic roads were simple compacted dirt paths, full of stone and limited by surrounding vegetation.

In this panel he is adorned with a tall crown, two necklaces, a snake armlet and holds the vajra in his left hand, and resting on a scarf tied across his hips. This close iconographic composition is at the entrance to the porch of cave 2 and in the incomplete porch of cave 1. Such votive carved panels with Vajrapani are also seen in the interior of pradkssina passage of cave 2 in which his presence is with other the ascetic bodisattvas like Avalokiteśvara; in this panel he has a crown in the form of a stupa with a scarf fastened over his left thigh. In the eastern group of caves at the entry to cave 6 in Aurangabad, Vajrapani is carved as a commanding persona in the form of a huge dvarapala along with Avalokiteśvara.

Due to the lack of historical documentation, there has been some speculation about its real iconographic meaning, although the most widely accepted theory is that it is an allegory of divine and earthly justice. Its authorship remains unknown; it is attributed to the "Master of Monsaraz-Beja", active in the region between the late 15th and the early 16th century, and to whom are also attributed the frescoes in the Hermitage of Saint Andrew (Ermida de Santo André), in Beja. The important art historian Túlio Espanca called this fresco an "extraordinary masterpiece", "unique in its profane theme" in the country. Some critics have drawn parallels between The Good and the Bad Judge, and Ambrogio Lorenzetti's The Allegory of Good and Bad Government (1338–9) in Siena's Palazzo Pubblico, and also Giotto's Scrovegni Chapel frescoes, namely the figures of Justice and Injustice (c.

Illustration labeled "cythara" in the Stuttgart Psalter, a Carolingian psalter from the 9th century. The instrument shown is of the chordophone family, possibly an early citole or lute Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.

He also dealt with the use of motifs and templates derived from other media and pointed out that the artisans thereby produced creative new works. Since Borbein's publication, researchers have mainly devoted themselves to chronological aspects or the preparation of catalogues of material from recent excavations and publications of old collections. In 1999 Marion Rauch produced an iconographic study Bacchische Themen und Nilbilder auf Campanareliefs ("Bacchic Themes and Nile Images in Campana Reliefs") and in 2006 Kristine Bøggild Johannsen described the usage contexts of the tiles in Roman villas on the basis of recent archaeological finds. She showed that the reliefs were among the most common decorations of Roman villas from the middle of the first century BC until the beginning of the second century AD, both in the country houses of the nobility and in the essentially agricultural villae rusticae.

She coined the term Karezza (from the Italian for "caress") and authored a book by this name in 1896. It refers to non-religious spiritual sexual practices that draw upon tantric techniques of body control but do not involve any of tantra's cultural or iconographic symbolism. She promoted Karezza as a means to achieve: # birth control (she was against abortion but she wanted women to be able to control pregnancies); # social and political equality for women (she felt that "Karezza men" would never rape their wives and would actually treat them "decently"); # marital pleasure and hence marital fidelity (she advocated Karezza as a cure for "failing marriages"). Stockham's interest in birth control could not overcome her fear that a mechanical sperm barrier would prevent "the complete interchange of magnetism" (a theory popular among 19th century sexual- spiritual teachers).

The paintings from Sant Joan in Boí make up what is considered one of the finest groups in Catalan Romanesque painting. Their chronology, around 1100, has been established indirectly on the basis of the architecture of the building and from comparison with the paintings in other churches in the valley of Boí: Sant Climent and Santa Maria in Taüll. Their study has led to comparison with those of Saint Martin de Vicq (Nohant-Vicq, Indre, central France) from the second half of the twelfth century, in which has been found not so much a certain interdependence but the use of common, possibly Carolingian European models. Of the whole, what remains is basically the painting from the aisles and the arches separating the nave and the aisles, enough to reveal a rich iconographic programme with ample references to the story of the Redemption.

Nabti shows the complex modalities of the inscription of the brotherhood in a Moroccan society led by an authoritative government (which try timidly to be liberalized), endemic unemployment, the development of tourism and the progress of political Islamism. While immersing himself as a ritual musician within the Aissawa orchestras, Mehdi Nabti casts new light on knowledge of Sufism and brings invaluable facts on the structure of the brotherhood and its rituals as well as the diverse logic behind affiliation to a traditional religious organization in a modern Muslim society. His work, which offers an iconographic description of musical scores pointing to esoteric symbolism and a DVD documentary, is the greatest sum of knowledge currently available on the subject. Mehdi Nabti is also the leader of the Aissawaniyya Orchestra, which brings together French jazzmen and Aissawa musicians.

At the apex of the tympanum, on a cloud, and angels bearing the insignia of the Passion. The attempts at drama and grimacing expression that show various images of this facade away of the full French classicism and put in relation to a more naturalistic trend of clear Hispanic flavor. It considers this facade akin to the Judgment of the western facade of the Cathedral of León and the iconographic theme of the cathedrals of Reims and Chartres, although its most obvious reference is the neighbor Door of the Sarmental, whose perfect balance, however, can not achieve. The facade of the portal of the Coronería extends upwards with a large window of stepped triple bow and on it, needles by respectives marked spires, a gallery of three ogival arches, with mullions and tracery of three quadrilobulates circles.

Mahakali is most often depicted in blue/black complexion in popular Indian art. Her most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head of a demon and a bowl or skull-cup (kapala) catching the blood of the severed head. Her eyes are described as red with intoxication and in absolute rage, Her hair is shown disheveled, small fangs sometimes protrude out of Her mouth and Her tongue is lolling. She is adorned with a garland consisting of the heads of demons she has slaughtered, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala, similar to a rosary, for repetition of Mantras) or 50, which represents the letters of the Sanskrit alphabet, Devanagari, and wears a skirt made of demon arms.

The Head of Arles probably decorated the ancient theatre in a similar manner to the Venus of Arles (Musée de l'Arles et de la Provence antiques) The Head of Arles (French: Tête d'Arles), formerly known also as the Head of Livia (Tête de Livie) or the Head with the broken nose (Tête au nez cassé) is a fragment of a Roman marble statue in two parts, of which only the bust remains, which probably depicts Venus (Aphrodite) and was discovered in the ruins of the Ancient Theatre of Arles in 1823 during the removal of accreted material from the theatre. The Head of Arles represents an iconographic type called Aspremont-Lynden/Arles. It is now part of the permanent exhibition of the Musée de l'Arles et de la Provence antiques with the inventory number FAN.92.00.405.

A photo of La Venta Stela 19, the earliest known representation of the Feathered Serpent in Mesoamerica. Feathered Serpent head at the Ciudadela complex in Teotihuacan The earliest iconographic depiction of the deity is believed to be found on Stela 19 at the Olmec site of La Venta, depicting a serpent rising up behind a person probably engaged in a shamanic ritual. This depiction is believed to have been made around 900 BC. Although probably not exactly a depiction of the same feathered serpent deity worshipped in classic and post-classic periods, it shows the continuity of symbolism of feathered snakes in Mesoamerica from the formative period and on, for example in comparison to the Maya Vision Serpent shown below. The first culture to use the symbol of a feathered serpent as an important religious and political symbol was Teotihuacan.

In main altar, a portrait of the Royal Family, Queen Maria I and the Infante John with the court, in an iconographic representation of Lisbon, seen from the Castle of São Jorge. The success of the chapel, came from the contribution of the woodworkers from the Church of São Roque (and in particular the Chapel of São João Baptista). A similar design esthetic was also brought in from the Royal Chapel in the Queluz Palace. The Bemposta Palace had its own singers (since 1759) that incorporated an organist and singers, that were contracted and regularly performed in Lisbon.Mauricio Dottori (2008), p.72 But, the organ had already been spirited away to the Palace of Queluz by 1778. The palace too began to be abandoned, as the royals move to other preferred lodgings: by 1798 the palace was already abandoned and falling into ruins.

Another style is called ', referring to dented holes placed on gold or silver foiling on the halos or the body of a statue, creating a reflective effect when placed in the light. Other wooden, metallic, or composite accessories, which depend on the iconographic attributes of the subject, range from a long baton for some Marian images, a scepter or staff for various saints, a ' (usually for images of the Christ Child), a rosary, wings, flowers, a weapon or weapons used in a saint's martyrdom, or some other object associated with the figure (e.g. small animals with Saint Francis of Assisi). Another costly item involved in the maintenance of a large ' is the ' (carriage), often used to bear the statute during religious processions in rural Mexico and the Philippines, such as those of a town fiesta, and Holy Week.

Web Gallery of Art, The Dormition of the Virgin The painting combines post-Byzantine and Italian mannerist stylistic and iconographic elements. El Greco is now seen as an artist with a formative training on Crete; a series of works illuminate the style of early El Greco, some painted while he was still in Crete, some from his period in Venice, and some from his subsequent stay in Rome.Cormack-Vassilaki, The Baptism of Christ The icon, which retains its function as an object of veneration in the Church of the Dormition of the Virgin in Syros, was probably brought to the island during the Greek War of Independence. The icon conforms closely to the established pattern for this subject, which was very common in the Orthodox Church in which El Greco was raised and was influenced by.

Shalu Temple became known throughout the far east for its dedication to the study of Buddhist philosophy and practice. By the 19th century, the monastery had become less influential and Tibetan scholars chose to study at the Gelug-dominated Samye, which had grown to be one of the most politically powerful in the Tibetan lands by this time. The monastery fell into ruin and little of the original 1330 structure remains, although the outer wall and the main building with damaged roofs still stands, and a number of 14th-century murals on the outer walls of the temple still follow an iconographic scheme developed by the great Buton himself. One of the murals is an allegory in which an elephant representing a human soul evolves through many steps and earthly trials to nirvana, becoming progressively white and purer in the cleansing process.

After his head was cut off, Denis is said to have picked it up and walked several miles from the summit of the hill, preaching a sermon the entire way, making him one of many cephalophores in hagiology. Of the many accounts of this martyrdom, this is noted in detail in the Golden Legend and in Butler's Lives Of The Saints.This is the iconographic detail by which he may be identified, whether in the thirteenth-century sculpture at the Musée de Cluny (illustration, in Veneration below) or in the nineteenth-century figure in the portal of Nôtre Dame de Paris, part of Viollet-le-Duc's restorations (illustration, in infobox). The site where he stopped preaching and actually died was marked by a small shrine that developed into the Basilica of Saint- Denis, which became the burial place for the kings of France.

At first, the autochthons identified the statue with their goddess Chaxiraxi (the mother of the gods), but later the Christian conquerors imposed the idea that the statue was that of the Virgin Mary. After the appearance of the Virgin and its iconographic identification with this biblical event, the festival began to be celebrated with a Marian character in the year 1497, when the conqueror Alonso Fernández de Lugo, celebrated the first Candlemas festival dedicated especially to the Virgin Mary, coinciding with the Feast of Purification, on February 2.Medio siglo de fervor en CandelariaHistoria de la Virgen de Candelaria, en página de turismo de Tenerife Before the conquest of Tenerife, the Guanche aborigines celebrated a festivity around the image of the Virgin during the Beñesmen festival in the month of August. This was the harvest party, which marked the beginning of the year.

The works are dated between 1488 and 1495 and were followed by Mudéjar masters, maintained the tradition of Mudéjar bricklayers in the Aljafería. The palace is accessed by climbing the noble staircase, a monumental building composed of two large sections with geometric yeserias gables illuminated by half-angled windows of small decoration of leaves and stems of Gothic roots and Mudéjar influences, topped in crochet on the key of the arches. The grandiose ceiling, as in the rest of the palace buildings, is covered with superb cross-vaulted vaults arranged between the jácenas, and they are decorated with tempera painting with iconographic motifs related to the Catholic Monarchs: the yoke and the arrows alternate with squares of decoration in grisao of grotesques and candelieri, that announces the typical decoration of the Renaissance. The stairs give access to a corridor in the first floor that communicates with the palatial dependencies proper.

In the same sense as the substitution of Adonai, the Septuagint translation of the Hebrew Bible to Greek mainly used the word Kyrios (, meaning 'lord') for YHWH.The Letters of Paul, Fifth Edition by Calvin J. Roetzel (Oct 30, 2009) pages 21-22 Apostle Paul was likely familiar with the use of the term Kyrios in the Septuagint and used it in his letters to refer to Jesus, thus signifying his divinity.Mercer dictionary of the Bible by Watson E. Mills, Roger Aubrey Bullard 1998 pages 520-525 The pronouncement "I Am that I Am" in Exodus 3:14, in rabbinical scholarship taken as a gloss on the meaning of the Tetragrammaton, was in Hellenistic Judaism rendered as . In the iconographic tradition of Eastern Christianity, it is common to depict Christ with a cruciform halo inscribed with the letters Ο, Ω, Ν for "He Who Is".

The traditional iconography represents him as an old bearded man, dressed in a tunic, with a staff from which hangs a bunch of cherries and at his feet a basket with bread, wine and eggs, or a bowl with a spoon, symbolizing his attempts to help the poor and the sick. His liturgical memorial, inscribed in the calendar of Archdiocese of Milan, is 6 June, which is also the anniversary of his death. On this date, Monza celebrates his feast as the city's patron saint in the church of San Gerardo al Corpo, while at the nearby bridge of San Gerardino a festival takes place which prominently features stalls selling cherries, traditional iconographic attributes of the saint. A few meters upstream from the bridge, the statue of Saint Gerardo, standing on his cloak, is placed in the river, in memory of the most famous miracle attributed to him.

But instead of driving her down to ignominy, the Roman power forces her upward to nobility". Caesar says of her final deed, "Bravest at the last,/ She levelled at our purposes, and, being royal,/ Took her own way" (5.2.325–327). Arthur L. Little, in agitative fashion, suggests that the desire to overcome the queen has a corporeal connotation: "If a black—read foreign—man raping a white woman encapsulates an iconographic truth... of the dominant society's sexual, racial, national, and imperial fears, a white man raping a black woman becomes the evidentiary playing out of its self-assured and cool stranglehold over these representative foreign bodies". Furthermore, he writes, "Rome shapes its Egyptian imperial struggle most visually around the contours of Cleopatra's sexualised and racialised black body—most explicitly her "tawny front", her "gipsy's lust", and her licentious climactic genealogy, "with Phoebus' amorous pinches black".

8, No.1, Winter 2006) was a review of the English translation of Transmitting Culture (2004). In concluding the review Nayor notes the similarities of some aspects and directions of mediology to Birmingham School cultural studies ranging from "Raymond Williams through Stuart Hall". Nayor also notes that recent philosophers and historians of science - he cites Bruno Latour, Eugene Thacker and Dwight Atkinson - have also examined science in relation to "intersecting cultural, ethnic, economic and iconographic 'bases' of the transmission of culture" An article by Steven Maris in Fibreculture No.12 similarly suggests that Debray is too firmly embedded in "the French academic scene" and that thus "Debray's explicit engagement with other national scholarly traditions of media, communications and cultural studies in the works mentioned above is minimal". Maris also notes that mediology "predates much of the [current academic] interest in networked cultures and new media".

The first series expired on 15 October 1912. A second series was published between 1921 and 1925 on a monthly basis, eventually becoming a single supplement. At the time of its founding near the start of the twentieth century, France was divided on crucial issues such as the extension of military service, revanchism (the call of French nationalists to avenge and reclaim from Germany the annexed territories of Alsace-Lorraine), right of association, separation of church and state, freedom of speech, and the emergence of new and radical political and social ideas in France such as revolutionary syndicalism, antimilitarism, anti-clericalism, Proletarian internationalism, feminism and the rise of labour law, which were all subjects of feature in the magazine. L'Assiette au Beurre is a valuable iconographic testament of the Belle Époque ("Beautiful Era") period in France, characterized by optimism, peace at home and in Europe, new technology and scientific discoveries.

The cycle of AFFRESCHI is large and of a certain iconographic complexity, even if for some parts it is not in good conditions and with large areas of lack. The affected portions are apse, triumphal arch and attached walls, and the right side of the church. The triumphal arch is painted in alternating gray and red segments and surrounded by a decorative motif that recalls bird plumage and which contains the frescoed parts; in the side walls, one on each side, the figures of the angel and the Madonna: the latter, better preserved, with hands on the chest, is reached by the dove of the Holy Spirit above rays of light, while reading, laid on an inclined plane, the book of Isaiah. At the center of the arch, within another decorated cornice, no longer visible due to falling plaster, perhaps a head of the Eternal Father.

With extensive research Haacke continued throughout the 1980s to target corporations and museums in his work through larger scale installations and paintings. In 1982, at the documenta 7 exhibition, Haacke exhibited a very large work that included oil portraits of Ronald Reagan and Margaret Thatcher in 19th-century style, facing on the opposite wall a gigantic photograph of the demonstration against nuclear arms held earlier that year—the largest demonstration in Germany since the end of the Second World War. The clear implication, supported by Haacke's remarks, was that these two figures were attempting to roll back their respective nations to the socially and politically regressive, laissez-faire, and imperialist policies of the 19th century. In 1988 he was given an exhibition at the Tate Gallery in London at which he exhibited the portrait of Margaret Thatcher, full of iconographic references featuring cameos of Maurice and Charles Saatchi.

In 1959, she was hired on contract at the Conservatoire de Paris library (until 1960) and as an assistant in the Music Department of the Bibliothèque Nationale de France, where she was assigned to the Opera library-museum, which she would never leave again. She became successively deputy and assistant librarian from 1962 to 1982, full curator from October 1985 and finally chief curator in 1993. Wild undertook important cataloguing work at the Opera Library, accumulating and organizing a wealth of information on musical and iconographic collections. This in-depth and systematic work allowed her to publish catalogues of remarkable musical value: Le Cirque (with Tristan Rémy), 1969; Les Arts du spectacle en France, Affiches illustrées, 1850-1950 : catalogue, 1976; Décors et costumes du XIXe siècle, volume I: Opéra de Paris, 1987; Décors et costumes du XIXe siècle, volume II: théâtres et décorateurs, collections de la bibliothèque-musée de l'Opéra, 1993.

Mary Magdalene announces the Risen Christ The St Albans Psalter, also known as the Albani Psalter or the Psalter of Christina of Markyate, is an English illuminated manuscript, one of several psalters known to have been created at or for St Albans Abbey in the 12th century.Rodney M. Thomson, Manuscripts from St. Albans Abbey, 1066-1235, 2 vols (Woodbridge, published for the University of Tasmania by D. S. Brewer, 1982). It is widely considered to be one of the most important examples of English Romanesque book production; it is of almost unprecedented lavishness of decoration, with over forty full-page miniatures, and contains a number of iconographic innovations that would endure throughout the Middle Ages. It also contains the earliest surviving example of French literature, the Chanson de St Alexis or Vie de St Alexis, and it was probably commissioned by an identifiable man and owned by an identifiable woman.

The paintings in the Vatican by Michelangelo and Raphael are said by some scholars such as Stephen Freedberg to represent the culmination of High Renaissance style in painting, because of the ambitious scale of these works, coupled with the complexity of their composition, closely observed human figures, and pointed iconographic and decorative references to classical antiquity, can be viewed as emblematic of the High Renaissance.Stephen Freedberg, _Painting of the High Renaissance in Rome and Florence, 2 vols., Cambridge MA; Harvard University Press Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design and their technique. The elongated proportions and exaggerated poses in the late works of Michelangelo, Andrea del Sarto and Correggio prefigure so- called Mannerism, as the style of the later Renaissance is referred to in art history.

She answers ("Behold the handmaiden of the Lord").Harbison (1995), 82 The Archangel Gabriel in a cope with a jewelled morse in Jan van Eyck's Annunciation, 1434–36 Art historian Penny Jolly suggests that in the mid to late 1420s Jan may have traveled to Italy at the behest of the Duke of Burgundy where, in Florence, he probably saw an iconic 14th century annunciation, and perhaps visited more contemporary annunciation scenes. The Florentine annunciations have a number of iconographic similarities to the Ghent panels, including Gabriel's multi- colored wings, the upside down writing, the treatment of light beams, and the separation between angel and virgin by a thin architectural feature. Some of these elements, particularly the spatial separation between the two figures, can be found in Lorenzo Monaco's Bartolini Salimbeni Annunciation in Santa Trinita, finished before his death in 1424, and one that Jan may have seen.

The gods we find in Khmer sculpture are those of the two great religions of India, Buddhism and Hinduism. Priests supervised the execution of the works, attested to in the high iconographic precision of the sculptures. Nonetheless, unlike those Hindu images which repeat an idealized stereotype, these images are treated with great realism and originality because they depict living models: the king and his court. The true social function of Khmer art was, in fact, the glorification of the aristocracy through these images of the gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an eminently aristocratic art in which the people were supposed to see the tangible proof of the sovereign’s divinity, while the aristocracy took pleasure in seeing itself – if, it’s true, in idealized form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant jewelry.

The pictures of the Vyšší Brod Master are a synthesis of the Italianate style, whose strikingly Byzantine features reached Bohemia from the region of Venice in particular, and of the Western European Gothic drawing-based style that originated in France. Earlier works that could have inspired its painters include book illustrations (Jean Pucelle, Bolognese illuminators active in St Florian), murals (the choir of the cathedral in Cologne), panel painting (Meister der Rückseite des Verduner Altars) and sculpture (the Master of the Michle Madonna). Several works created by other artists (Antependium of Königsfelden,Foto: Historisches Museum Bern Kaufmann Crucifixion) have motifs that are so similar that it can be speculated that they used the same models. The iconographic conception that, in groups of works, depicts the most important moments in the life of Christ, is based in cycles by the leading painters of the Italian Trecento – Giotto and Duccio.

Sheri Khan Tarakai and early village life in the borderlands of north-west Pakistan, Bannu Archaeological Project Monographs - Volume 1, Oxbow Books, Oxford: 211-303. The range of finished pottery vessels, lithic tools and small finds, and the associated production debris that was discovered, indicate the range of craft activities being carried out on-site, including pottery firing, bone working, lithic flaking, stone grinding and bead drilling. The diverse range of terracotta figurines and the motifs depicted on many of the ceramic vessels suggest that the lives of the inhabitants were enlivened by a rich iconographic tradition. The inhabitants of Sheri Khan Tarakai deployed a range of subsistence strategies, including the cultivation of barley and wheat, the management of domestic sheep, goat and cattle, the collection of a range of wild plant and wood species, and the hunting of a wide variety of wild animals.

Legislative Assembly of the city of São Paulo The establishment of Fotolabor was an important milestone for applied photography in Brazil, as well as in the field of advertising and industrial photography. To this day, its photographic style does not receive the same attention and recognition when compared to other iconographic genres. Through photographic collections, customer relations, purpose of orders and production records, it is possible to outline a general scenario of what the business models and strategies of marketing were like in the area of photography at that time, between the 1940s and 1960s, as well as getting to know the technical side of the photographs. In addition, Haberkorn's photography allows the visualization of the transformations of São Paulo in the 1940s and 1950s, taking into account the changes in Brazilian infrastructure, lifestyle, and even changes in the urban design of the city.

The magazines flanking this courtyard could only be accessed by a long corridor at the eastern end of the courtyard. At the other end of the courtyard was a doorway leading through the wall of the pyramid enclosure into the inner part of the mortuary temple. There there were five cult chapels with all the annexes necessary for their operation, and finally one came to the hall which contained the false door of Pepi II. To the south of this inner part of the mortuary temple, within the pyramid enclosure, was the ka-pyramid which was a dozen metres high. Many fragments of the temple decoration have been recovered, allowing the reconstruction of the iconographic programme, which showed the king receiving processions of people bringing offerings and showing him leading hunts and battles against the enemies of Egypt in the presence of the high officials of the kingdom.

Furthermore, Cahuachi's obvious influence and importance in Nasca society and the fact that it was primarily a ceremonial center suggests that political power and social differences may not have been exclusively based on the economy. This is further evidenced by a lack of clear mortuary differentiation in early Nasca society and iconographic portrayals of elites, which lead researchers to believe that there could have been at least a group- oriented chiefdom where accumulation of personal wealth was forgone or otherwise unachievable (Silverman 2002: 166). The main thing that connected the segments of peoples in the Rio Grande de Nazca drainage system were their Nasca cultural traditions and religious cult where Cahuachi was the center, but only as a temporary pilgrimage site, and otherwise they lived in their own smaller communities with their own separate local ceremonial and domestic foci, and was therefore not politically centralized. Nasca society in terms of its location in the Rio Grande de Nazca drainage system also played its part in their sociopolitics.

Iranian children wearing keffiyehs in a Shia ritual for remembrance of Ali al-Asghar ibn Husayn In the Hosseini infancy conference, babies wear green or white cloth like cloth of Ali al-Asghar ibn Husayn Ali al-Asghar is buried along with his brother Ali al-Akbar and his father Husayn in Karbala, Iraq, which is now one of the most visited shrines in the world.Journeys of Tears, published by the Wessex Jamaat Ali al-Asghar and his death are commemorated in various ways, including iconographic depictions, hagiography recitations (rowzeh), poetry (nowheh), replicas of Ali Asghar's cradle and grave, and dolls representing him. according to Shia ritual shahadat-e-Ali asghar is on 9th moharram night however, he was killed 71st before imam Husayn. During nowheh, women perform self-flagellating rituals (sineh-sarpay or aza-sarpay) in which they move around (sineh-dowr) a cradle replica and hit their chests with their hands.

Mercier proposed the Cotton Genesis, Vienna Genesis and Rossano Gospels as comparable (though undated) illuminated manuscripts. Otherwise papers presented at the conference included the first full published translation by Getatchew Haile of the various historical notes found in the two gospel books; together with various iconographic and palaeographic studies, including a paper from Jacques Mercier arguing that the common grid of scored lines underlying both illustrations and text demonstrates that both were executed in Ethiopia, and that consequently a school of painting and a workshop for the production of manuscripts must have been active in the Kingdom of Axum in Late Antiquity. Alessandro Bausi presented a paper comparing the Ge'ez language and palaeography of the Garima gospels with those found in a recently identified manuscript witness to the 'Aksumite Collection' or 'Synod of Qefrya'; an edited compendium of selected Greek synodical texts, which is believed to have been translated into Ge'ez in the later fifth century.

The interpretation of Palaeolithic Art is problematic, as it can be influenced by our own prejudices and beliefs. Some anthropologists and art historians theorize the paintings could be an account of past hunting success, or could represent a mystical ritual in order to improve future hunting endeavors. The latter theory is supported by the overlapping images of one group of animals in the same cave location as another group of animals, suggesting that one area of the cave was more successful for predicting a plentiful hunting excursion. Applying the iconographic method of analysis to the Lascaux paintings (studying position, direction and size of the figures; organization of the composition; painting technique; distribution of the color planes; research of the image center), Thérèse Guiot-Houdart attempted to comprehend the symbolic function of the animals, to identify the theme of each image and finally to reconstitute the canvas of the myth illustrated on the rock walls.

Medinet Habu The Sherden (Egyptian: šrdn, šꜣrdꜣnꜣ or šꜣrdynꜣ, Ugaritic: šrdnn(m) and trtn(m), possibly Akkadian: še–er–ta–an–nu; also glossed “Shardana” or “Sherdanu”) are one of the several ethnic groups the Sea Peoples were said to be composed of, appearing in fragmentary historical and iconographic records (ancient Egyptian and Ugaritic) from the eastern Mediterranean in the late 2nd millennium BC. On reliefs, they are shown carrying round shields and spears, dirks or swords, perhaps of Naue II type. In some cases, they are shown wearing corselets and kilts, but their key distinguishing feature is a horned helmet, which, in all cases but three, features a circular accouterment at the crest. At Medinet Habu the corselet appears similar to that worn by the Philistines. The Sherden sword, it has been suggested by archaeologists since James Henry Breasted, may have developed from an enlargement of European daggers and been associated with the exploitation of Bohemian tin.

Veronika Drahotová Veronika Drahotová (born July 25, 1975) is a Czech artist and curator best known for mixed-media work incorporating painting, photography, video and installation. In 1992, she was one of the youngest students ever to matriculate at the prestigious Academy of Fine Arts, Prague (AVU), studying under J. David and J. Sopko, receiving a one-year scholarship (1995) at the San Francisco Art Institute, and a Master of Arts degree in 2000. She made her first big splash in the art world in 1998 with Castle in the Sky, a large-scale light installation funded by the Soros Foundation. In it, the famous Prague Castle was completely illuminated in a rainbow glow for several nights, and it’s still considered one of the largest public art displays to take place in the Czech Republic. The rainbow symbolism from "Castle in the Sky" was naturally incorporated into Drahotova’s ever-growing iconographic vocabulary.

Sugar beet, another crop which was very new for the region prospered in the late 19th century in Aunis, and especially in the Canton of Aigrefeuille d'Aunis. Thus the city was able to successfully convert its viticulture economy by developing an agro-food industry with the cooperative dairyThe Industrial Heritage of Poitou-Charentes © Service régional de l'inventaire de Poitou- Charentes, 2007. Le dossier en ligne " Le patrimoine industriel de Poitou- Charentes " 5 000 screen pages, en three levels of access: \- Research and consultation of documents of 1000 identified factories and studied by the general inventory for all the region for 20 years; \- Thematic Summaries of the Heritage (architecture, types of activity); \- Uneditted Iconographic resources: albums, work-book photos, drawings, maps. and the industrial distillery of sugar beet,The Industrial Heritage of Poitou-Charentes © Service régional de l'inventaire de Poitou-Charentes, 2007 while maintaining its cognac distillery, has acquired a high profile in the region.

The main altarpiece of the Charterhouse was carved in wood by artist Gil de Siloé and polychrome and gilded by Diego de la Cruz (whose gold came from the first shipments of the Americas after its discovery) Made between 1496 and 1499, is undoubtedly one of the most important existing works of the Spanish Gothic sculpture, by its compositional and iconographic originality and excellent quality of carving, valued by the polychrome. One of the most important elements of the altarpiece is the angelic wheel in which is framed the Christ crucified image for its beauty and significantly accentuated expressiveness by the work of polychrome of Diego de la Cruz. In the outer part of the wheel, are placed the figures of God the Father to the left and the Holy Spirit to the right bearing the rungs of the cross. In the bottom of the cross, the figures of the Virgin Mary and John the Evangelist complete the scene.

Technological advances allowed the building-up of huge collections of photographs, with an iconographic arrangement or index, which include those of the Warburg Institute and the Index of Medieval ArtIndex of Medieval Art website (formerly Index of Christian Art) at Princeton (which has made a specialism of iconography since its early days in America).Białostocki:538-39 These are now being digitised and made available online, usually on a restricted basis. With the arrival of computing, the Iconclass system, a highly complex way of classifying the content of images, with 28,000 classification types, and 14,000 keywords, was developed in the Netherlands as a standard classification for recording collections, with the idea of assembling huge databases that will allow the retrieval of images featuring particular details, subjects or other common factors. For example, the Iconclass code "71H7131" is for the subject of "Bathsheba (alone) with David's letter", whereas "71" is the whole "Old Testament" and "71H" the "story of David".

The "jewel-like" painting, showing the influence of Byzantine art and of Giotto, comprises four scenes in an unusual iconographic combination that likely reflects the donor's wishes. Of the four scenes, the top two are of a double height, the bottom two separated by the edge of the throne in place of a decorative band. They depict, from left to right, top to bottom, the Apotheosis of Saint Augustine, above a Gothic temple standing over the saint's empty tomb, the Coronation of the Virgin, above a crowd of onlooking saints and angels, Saint Catherine disputing with the philosophers before Emperor Maxentius, and a pairing of the episodes of Saint Francis receiving the stigmata and Saint John the Baptist in the wilderness, proclaiming the coming of the Messiah, with a winged cherub in-between. John the Baptist's scroll reads ECCE / AGN(us) / DEI / ECCE / Q(u)I TO(l) / LIT (peccata mundi) Behold the Lambe of God, which taketh away the sinne of the world (John 1.29, KJV).

In a 1926 article devoted to the brushed technique gold glass known as the Brescia medallion (Pl. 1), Fernand de Mély challenged the deeply ingrained opinion of Garrucci and Vopel that all examples of brushed technique gold glass were in fact forgeries. The following year, de Mély’s hypothesis was supported and further elaborated upon in two articles by different scholars. A case for the Brescia medallion’s authenticity was argued for, not on the basis of its iconographic and orthographic similarity with pieces from Rome (a key reason for Garrucci’s dismissal), but instead for its close similarity to the Fayoum mummy portraits from Egypt. Indeed, this comparison was given further credence by Walter Crum’s assertion that the Greek inscription on the medallion was written in the Alexandrian dialect of Egypt. De Mély noted that the medallion and its inscription had been reported as early as 1725, far too early for the idiosyncrasies of Graeco-Egyptian word endings to have been understood by forgers.

Room of Manuscripts of the Royal Library of Belgium, Brussels The Royal Library of Belgium's Music Division is considered one of Belgium's most important centers for the preservation and study of music-related documents. The Music Division maintains a rich and varied collection composed of hundreds of thousands of manuscript and printed scores, about 100,000 sound recordings, a large collection of correspondence, printed works, concert programmes, posters, photographs and other iconographic documents, not to mention varied objects such as medals, busts, casts, music instruments. Although most music-related documents in the Royal Library are held in the Music Division, certain additional works are held in the Manuscript, Rare Books and Prints and Engravings divisions of the Library. The Music Division was founded in 1965, building upon the more than 5,000 printed and manuscript documents that made up the private collection of the important 19th century Belgian musicologist François-Joseph Fétis, acquired by the Royal Library in 1872.

Rosmerta, for instance, was frequently associated with Mercury in Gaul. Four of the bowls have incised emblematic designs associated with Mercury, and the formulaic Latin initialism VSLM, standing for votum solvit libens merito ("He fulfills his vow freely, as is deserved").Ruth E. Leader- Newby, Silver and Society in Late Antiquity: Functions and Meanings of Silver Plate Ashgate. 2004. Nine of the vessels form a group of luxury domestic silver of 1st century dateSimilar to silver found at Boscoreale and in the House of the Menander at Pompeii, overwhelmed by the eruption of 79 CE, and similarly composed of drinking vessels (Leader-Newby). with iconographic connections to Dionysus rather than to Mercury, marked as votive offerings (vota) of one Q. Domitius Tutus; they include a matching pair of silver drinking cups (scyphi) with Dionysiac imagery of centaurs,Jon van de Grift, "Tears and Revel: The Allegory of the Berthouville Centaur Scyphi" American Journal of Archaeology 88.3 (July 1984:377-388).

The portion still below carries the traces of the apostles placed in a semicircle, and is partly still hidden by the altar placed there in the following centuries. In the side wall of the hall it is visible, always within a large decorative frame of the same shape as that of the triumphal arch, a large scene, depicting a Madonna of Mercy with the mantle supported by two angels: under the mantle, in two registers superimposed, there are many characters, left male and female right. The two upper ranks house saints and saints, the lower ones pope, cardinal, lords, men and women religious, that is to say the representatives of the earthly hierarchies. Remarkable iconographic peculiarity is the fact that the Virgin of Mercy is depicted on a throne, with the Child in his arms and that the two registers depict dead figures and, below, alive, but with a skull at the center to indicate the transience of life.

Relief from Angkor The gods we find in Khmer sculpture are those of the two great religions of India, Buddhism and Hinduism. And they are always represented with great iconographic precision, clearly indicating that learned priests supervised the execution of the works. Nonetheless, unlike those Hindu images which repeat an idealized stereotype, these images are treated with great realism and originality because they depict living models: the king and his court. The true social function of Khmer art was, in fact, the glorification of the aristocracy through these images of the gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an eminently aristocratic art in which the people were supposed to see the tangible proof of the sovereign's divinity, while the aristocracy took pleasure in seeing itself – if, it's true, in idealized form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant jewelry.

Iconography Taddeo Zuccari's Conversion of Saint Paul in the Church of San Marcello al Corso Well-established iconographic tradition stipulated how the Conversion of Paul should be depicted in Renaissance and Baroque art. Its characteristic elements were a rearing, panicked horse – although there is no mention of a horse in the Bible -, Saul lying on the ground, Jesus appearing in the sky and a retinue of soldiers reacting to the events. This is how Taddeo Zuccari, one of the most renowned painters in Caravaggio's Rome, portrayed the scene on a large altarpiece in the Church of San Marcello al Corso around 1560. The figure of Paul in the Cerasi Conversion was derived from a model by Raphael via Zuccari.Lorenzo Pericolo: Caravaggio and Pictorial Narrative Dislocating the Istoria in Early Modern Painting, Harvey Miller Publishers, 2011, p. 257 Raphael's version was part of his series of tapestries created for the Sistine Chapel in 1515–16.

Several cult-objects with similar features are found in different Illyrian regions, including the territory of the Illyrian tribes of Dassaretii, Labeatae, Daorsi, and comprising also the Iapodes. In particular, a 3rd century BC silvered bronze belt buckle, found inside the Illyrian Tombs of Selça e Poshtme near the western shore of Lake Lychnidus in Dassaretan territory, depicts a scene of warriors and horsemen in combat, with a giant serpent as a protector totem of one of the horsemen; a very similar belt was found also in the necropolis of Gostilj near the Lake Scutari in the territory of the Labeatae, indicating a common hero-cult practice in those regions. Modern scholars suggest that the iconographic representation of the same mythological event includes the Illyrian cults of the serpent, of Cadmus, and of the horseman, the latter being a common Paleo-Balkan hero. The cult of Artemis under the epithet Άγρότα, Agrota was practiced in southern Illyria, in particular during the Hellenistic and Roman Imperial times.

Bricker and Bricker write: "The Venus table tracks the synodic cycle of Venus by listing the formal or canonical dates of planet's first and last appearances as 'morning star' and 'evening star'. The emphasis, both iconographic and textual, is on first appearance as morning star (heliacal rise), the dates of which are given quite accurately, This first appearance was regarded as a time of danger and the major purpose of the Venus table was to provide warnings of such dangerous days. The table lists the tzolkin days for the four appearance/disappearance events during each of the 65 consecutive Venus cycles, a period of approximately 104 years. The table was used at least four times with different starting dates, from the tenth through the fourteenth centuries AD."Bricker and Bricker 2001:163 Because the Maya canonical period was 584 days and the synodic period is 583.92 days, an error accumulated in the table over time.

Shearman, 47; Hartt, 326; Martines, Chapter 10 for the hostilities. The iconographic scheme was a pair of cycles, facing each other on the sides of the chapel, of the Life of Christ and the Life of Moses, together suggesting the supremacy of the Papacy. Botticelli's contribution included three of the original fourteen large scenes: the Temptations of Christ, Youth of Moses and Punishment of the Sons of Corah (or various other titles),Shearman, 70–75; Hartt, 326–327 as well as several of the imagined portraits of popes in the level above, and paintings of unknown subjects in the lunettes above, where Michelangelo's Sistine Chapel ceiling now is. He may have also done a fourth scene on the end wall opposite the altar, now destroyed.Shearman, 47 Each painter bought a team of assistants from his workshop, as the space to be covered was considerable; each of the main panels is some 3.5 by 5.7 metres, and the work was done in a few months.

He is represented as a young man with a palm- leaf, in a cauldron, sometimes with a raven and a lion, his iconographic attribute because according to the legend he was thrown into a cauldron of boiling tar and molten lead, but miraculously escaped unscathed. The names of Saints Modestus and Crescentia were added in the 11th century to the Roman Calendar,"Calendarium Romanum" (Libreria Editrice Vaticana 1969), p. 126 so that from then on all three names were celebrated together until 1969, when their feast was removed from the General Roman Calendar. Vitus is still recognized as a saint of the Catholic Church, being included in the Roman Martyrology under June 15,"Martyrologium Romanum" (Libreria Editrice Vaticana 2001 ) and Mass may be celebrated in his honor on that day wherever the Roman Rite is celebrated,General Instruction of the Roman Missal, 355 while Modestus and Crescentia, who are associated with Vitus in legend, have been omitted, because they appear to be merely fictitious personages.

The tympanum, divided into two parts, representing the Last Judgment. On the lintel justly above the door appears a long scene in relief chaired by Archangel Michael with a scale weighing the souls; around him, to the left, a demon trying to unlevel in their favor the weight of the sins as well as those convicted who are driven to Hell, and, to the right, a little house with the open door representing the entrance to paradise, where are already nobles, a king, a queen, a monk with hood and a Franciscan friar, the blessed. This motif of psicostasis is an iconographic heritage of the Romanesque art. At the top of the tympanum appears another motif common to the Romanesque, the Deesis, with Christ enthroned as universal judge, with arms raised, showing the wounded of the side and flanked by the Virgin and St. John imploring mercy for souls of the poor.

For the 24th annual Folsom Street Fair, held September 30, 2007, the official poster artwork was a controversial photo featuring well-known LGBT and BDSM community members in festive and fetish attire including Roma "as players in an innovative version of the culturally iconographic" The Last Supper by Leonardo da Vinci, complete with table draped with the Leather Pride flag and "cluttered with sex toys, whips, and various (BDSM) restraints". The image by FredAlert was used on the official event guide and produced as collector's posters that were displayed throughout the city as advertising for the event. In 2003, Roma's drag act was incorporated into Ronnie Larsen's play Sleeping With Straight Men with Mink Stole in San Francisco. In 2006, Roma was nominated for Best Nonsexual Performance Gay Adult Video News (GAYVN) award for her portrayal of Mona Lott, the maid of Wet Palms, which is a ten-episode gay-porn soap opera series.

Sebastiano Ricci, Diana and Callisto, 1712-16 Callisto's story was sometimes depicted in classical art, where the moment of transformation into a bear was the most popular.Gods From the Renaissance on a series of major history paintings as well as many smaller cabinet paintings and book illustrations, usually called "Diana and Callisto", depicted the traumatic moment of discovery of the pregnancy, as the goddess and her nymphs bathed in a pool, following Ovid's account. The subject's attraction was undoubtedly mainly the opportunity it offered for a group of several females to be shown largely nude.There is a good but by no means complete, selection at Warburg Institute Iconographic Database, Myths → Callisto's pregnancy discovered by Diana; more on Wikimedia CommonsIn Jupiter and Callisto by François Boucher, Zeus/Jupiter takes the form of Artemis/Diana (Nelson-Atkins Museum of Art, Kansas City)Titian's Diana and Callisto (1556-1559), was the greatest (though not the first) of these, quickly disseminated by a print by Cornelius Cort.

It was commissioned by a cloth-merchant who knew Barthélemy's stepfather , and combines influences from the Early Netherlandish art of Robert Campin and Jan van Eyck with those of Claus Sluter who worked at Dijon, and Colantonio from Naples (although some see this last influence as flowing in the other direction). Many of the iconographic details follow those from Annunciations by Jan van Eyck and his circle, such as the Washington Annunciation. Together with a fine portrait dated 1456 (Lichtenstein Collection, Vienna), and a fragment with a small crucified Christ in the Louvre, this is the only surviving panel painting associated with him; most of his later works are illuminated manuscripts commissioned by René of Anjou. René of Anjou was a prince of the Valois family who had a complicated range of titles and claims, including that of King of Naples, from which kingdom he was ejected by the House of Aragon by 1442.

Lakulisa pillar, inscribed Gupta era "year 61", 380 CE. Around the 1st century CE, the Lakulisha cult was established with iconographic representation of Shiva appearing with a club. Two hundred years later, Lakulisha was accepted as an avatara of Shiva. A pillar erected by Chandragupta II at Mathura in 380 CE states that a ‘Guruvayatana’ (Abode of the Gurus) was established by certain Uditacharya, who was 4th in descent from a teacher of Pashupata sect named Parashara, who in turn was 6th in descent from Kushika. If this Kushika is one of the four disciples of Lakulisha as described in the Linga Purana, the latter must have existed around 125 CE. Renowned epigraphist John Faithfull Fleet contends that in the North India, the Kushana emperors like Huvishka (140 CE) replaced the pictures of Hercules on their coins with ones of Shiva, and of Heracles with images of Lakulisha.John Faithfull Fleet ‘Siva as Lakulisa’ JRASGBI : 1907, p.

In a 1926 article devoted to the brushed technique gold glass known as the Brescia medallion (Pl. 1), Fernand de Mély challenged the deeply ingrained opinion of Garrucci and Vopel that all examples of brushed technique gold glass were in fact forgeries. The following year, de Mély’s hypothesis was supported and further elaborated upon in two articles by different scholars. A case for the Brescia medallion’s authenticity was argued for, not on the basis of its iconographic and orthographic similarity with pieces from Rome (a key reason for Garrucci’s dismissal), but instead for its close similarity to the Fayoum mummy portraits from Egypt. Indeed, this comparison was given further credence by Walter Crum’s assertion that the Greek inscription on the medallion was written in the Alexandrian dialect of Egypt. De Mély noted that the medallion and its inscription had been reported as early as 1725, far too early for the idiosyncrasies of Graeco-Egyptian word endings to have been understood by forgers.

Dhow with lateen sail in "bad tack" with the sail pressing against the mast, in Mozambique. The emergence of new evidence for the development and spread of the lateen sail in the ancient Mediterranean in recent decades has led to a reevaluation of the role of Arab seafaring in the Indian Ocean in that process. Neither the attribution of the lateen to the Arabs nor its origin in the Indian Ocean can any longer be upheld: > The origin of the lateen sail has often been attributed by scholars to the > Indian Ocean and its introduction into the Mediterranean traditionally > ascribed to the Arab expansion of the early-7th century. This was due mainly > to the earliest (at that time) iconographic depictions of lateen rigged > ships from the Mediterranean post-dating the Islamic expansion into the > Mediterranean basin...It was assumed that the Arab people who invaded the > Mediterranean basin in the 7th century carried with them the sailing rig > familiar to them.

That her worship predominated the early dynastic periods is shown by a preponderance of theophoric names (personal names which incorporate the name of a deity) within which Neith appears as an element. Predominance of Neith's name in nearly forty percent of early dynastic names, and particularly in the names of four royal women of the First Dynasty, only emphasizes the importance of this goddess in relation to the early society of Egypt, with special emphasis upon the Royal House. In the very early periods of Egyptian history, the main iconographic representations of this goddess appear to have been limited to her hunting and war characteristics, although there is no Egyptian mythological reference to support the concept that this was her primary function as a deity. It has been suggested these hunting and war features of Neith's imagery may indicate her origin from Libya, located west and southwest of Egypt, where she was goddess of the combative peoples there.

The Angel of the Fifth Trumpet, an example of a Beatus manuscript. The most transcendental works of Beatus were his Commentaries to Apocalypse, which were copied in later centuries in manuscripts called beati, about which the Italian writer Umberto Eco said: "Their splendid images gave birth to the most relevant iconographic happening in the History of Mankind".Umberto Eco wrote an essay about them, Beato di Liebana (1976) Beatus develops in them a personal interpretation of the Book of Revelation, accompanied by quotes from the Old Testament, the Church Fathers and fascinating illustrations. In these Commentaries a new interpretation of the apocalyptic accounts is given: Babylon no longer represents the city of Rome, but Córdoba, seat of the Umayyad emirs of al- Andalus; the Beast, once a symbol of the Roman Empire, now stands for the Islamic invaders who during this time threatened to destroy Western Christianity, and who raided territories of the Asturian Kingdom.

Roman Ruins at Schönbrunn Originally known as the Ruin of Carthage, the Roman Ruin is a set of follies that was designed by the architect Johann Ferdinand Hetzendorf von Hohenberg and erected as an entirely new architectural feature in 1778. Fully integrated into its parkland surroundings, this architectural ensemble should be understood as a picturesque horticultural feature and not simply as a ruin, which due to lack of maintenance it had increasingly grown to resemble prior to its recent restoration. The fashion for picturesque ruins that became widespread with the rise of the Romantic movement soon after the middle of the 18th century symbolized both the decline of once great powers and the preservation of the remains of a heroic past. Erected at the same time not far from the Roman Ruin, the Obelisk Fountain was intended to complete the iconographic program of the park at Schönbrunn as a symbol of stability and permanence.

In the catalogue to the exhibition in Casa Buonarroti, Filippo Buonarroti e la cultura antiquaria sotto gli ultimi Medici (Florence, Cantini, 1986), the curator Daniela Gallo assumes that Filippo must have collected most of the Etruscan art in the Buonarroti collection. Buonarroti pursued studies in law and exercised an early scientific curiosity. His early iconographic study of Imperial bronze coins and medals of Roman emperors in the collection of Cardinal Gasparo di Carpegna,Gasparo dei conti di Carpegna (1625-1714), titular archbishop of Nicea, a functionary of the Papal curia, was made a cardinal in 1670 (Salvador Miranda, "Cardinals of the Holy Roman Church"). which he dedicated to Cosimo III, made his reputation as a scholar; it was published as Osservazioni Istoriche sopra alcuni medaglioni antichi all'Altezza Serenissima di Cosimo III Granduca di Toscana"Observations on some ancient medalions [dedicated] to His Most Serene Highness, Cosimo III, Grand Duke of Tuscany" (On-line catalogue entry).

Such was the power of her performance as the whore that Leone's biographer Robert C. Cumbow described her as "permanently engraved in cinematic history" and noted how suited to the role she was: "Her sex-goddess appearance combines with her more mystical iconographic associations to ease the progress of Jill from tart to town builder, from harlot to earth mother, from sinner to symbol of America—the apotheosis of the harlot with a heart of gold." In 1969, Cardinale starred opposite Nino Manfredi in Luigi Magni's Nell'anno del Signore, based on the actual story of the capital execution of two carbonari in papal Rome. This was followed by a role as a telephone operator in Certo certissimo ... anzi probabile, and as a nurse opposite Sean Connery and Peter Finch in Mikhail Kalatozov's The Red Tent, based on the story of the mission to rescue Umberto Nobile and the other survivors of the crash of the Airship Italia.

The iconographic program of frescoes expressing the glory of the Farnese was worked out by the humanists in Farnese's court, notably his secretary, Annibale Caro;Robertson, Clare. "Annibal Caro as Iconographer: Sources and Method Annibal Caro as Iconographer: Sources and Method" Journal of the Warburg and Courtauld Institutes 45 (1982:160-181); see also Baumgart, Fritz. "La Caprarola di Ameto Orti", Studi Romanzi, 25 (1935:80); in 240 Latin verses, La Caprarola of Ameto Orti (c 1585-89) describes the beauties of the Farnese castello. The fresco cycles portray the exploits of Alexander the Great, and of course of the Farnese themselves: in the Sala dei Fasti Farnesiani (the Room of Farnese Deeds), decorated by the brothers Taddeo and Federico Zuccari, the Farnese are depicted at all their most glorious moments, from floor to coffered ceiling.Partridge, Loren W. "Divinity and Dynasty at Caprarola: Perfect History in the Room of Farnese Deeds", The Art Bulletin 60.3 (September 1978:494-530).

237, note 56, Yale University Press, 2006, Beyond that, the origins of the image may relate to rituals and a vision or miracle connected with a famous icon in the Blachernae Church in Constantinople.Vasilake, 308. This gave rise in the Byzantine Rite (Eastern Orthodox and Eastern Catholic Churches) to the Pokrov icons, although the image is not found in Byzantine art. In the Pokrov icons the thought is similar, but the image is usually less literal – the veil with which the Virgin protects mankind is small and held either in her hands or by two angels,Neil K. Moran; Singers in Late Byzantine and Slavonic Painting, p.126ff, BRILL, 1986, though the Western version with a larger cloak is found in some Eastern Orthodox icons, one of a number of Western iconographic features that infiltrated Orthodox art, whether in Cyprus under the CrusadersVasilake, 307ff; 17th century Ukrainian example or 16th-century Eastern Europe.

His face is carefully characterized as a portrait,The delineation of the particularity of his features is a pagan, not a Christian concern; "The whole temper of the new religion was opposed to anything in the nature of an image or idol: its aim was to represent ideas, not isolated figures", succinctly observes Serdar Hizli, "The Constantinian Basilicas - Sculpture". a man of middle age, balding, his features furrowed in thought. The classicizing realism and the iconographic situation, and the complete absence of any Christian symbolism whatsoever — Christian authors write under the inspiration of angels — combine to suggest a man who has been schooled in the pagan tradition, which no longer led to the traditional public cursus honorum, however, by the 5th century, and would instead have implied a man who was living secluded from public life, which had become resolutely Christian.The Theodosian decrees of 391 had closed the temples and criminalized pagan acts of piety.

There are virtually no indications that this is the subject contained in the work itself, although the altarpiece for the chapel was the Adoration in the Forest by Filippo Lippi (now Berlin). The Magi, stained glass by John Hardman and Co in St. Andrew's Cathedral, Sydney From the 16th century plain Nativities with just the Holy Family, become a clear minority, though Caravaggio led a return to a more realistic treatment of the Adoration of the Shepherds. The compositions, as with most religious scenes, becomes more varied as artistic originality becomes more highly regarded than iconographic tradition; the works illustrated by Gerard van Honthorst, Georges de La Tour, and Charles Le Brun of the Adoration of the Shepherds all show different poses and actions by Mary, none quite the same as the traditional ones. The subject becomes surprisingly uncommon in the artistic mainstream after the 18th century, even given the general decline in religious painting.

Although the leaves are not as refined and do not evince the same technical ability as those of Hand G, they contain realistic and unflinching depictions of human distress and a number of iconographic and stylistic innovations that suggest they are copies of prototypes by Jan.Sterling, 13 Charles Sterling notes similarities between Hand H and passages in the New York Crucifixion and Last Judgement diptych miniature, a work for which completion dates as wide as 1420-1438 have been suggested, and which is known to have been finished by members of Jan's workshop.Sterling, 12 He notes the influence on van Eyck's successor in Bruges, Petrus Christus, who is known to have served as a journeyman in Jan's studio from the early 1430s. He suggests that the Agony in the Garden in particular was influential on painters in the 1430s, especially on southern German painters such as Hans Multscher and Lodewijck Allynckbrood who produced a number of works clearly indebted to Hand H.Sterling, 13-14 Eyckian landscape in the bas-de-page, below Gothic saints.

The iconographic program of Earthly Vanity and Divine Salvation is complex, although not impenetrably so, hence the title given to the work. The proponents of the theory that a fourth recto-verso panel is missing suggest that it could have shown the Virgin Mary (responding to her son depicted as a Salvator Mundi but also with attributes of a Christ in Majesty, such as the crown) on one side, and Adam on the other (responding to Eve, depicted as the allegorical figure of Vanity). The purposes of Death, Hell, Memento mori, and the coat of arms, are quite clear, although their position is not. Vanity (which may also represent Luxuria) and Death share aesthetic and thematic parallels, not least in the very prominent genital area, a fact that has prompted the tenants of the triptych hypothesis to dismiss the idea that Vanity/Luxuria should have been paired with another painting instead. On the other hand, the probable pairing of Christ with Hell is theologically untenable; as in Memling’s own Last Judgment, depictions of Hell are generally paired with depictions of Heaven.

Christ Carrying the Cross and the Annunciation to the Shepherds There are several iconographic features in the Hours of Jeanne d’Evreux that are worth mentioning. Portrayal of black Africans can be found at the beginning of the Passion cycle in two miniatures of the illuminated manuscript. The Passion cycle at Matins opens with the Betrayal, where Malchus, a crouching figure on the left side of the foreground, has features that ethnically differ from the rest of the figures in the image. Because by the time of Pucelle's artistic bloom, Europeans were well aware and familiar with North and East African races and appearances, “the idea of depicting blacks as servants and specifically as tormenters of Christ had become part of the visual iconography of Western art from at least the 12th century.”Gould As the familiarity with black ethnicity heightened, so did the interest for realism, especially in the visual arts, which allowed for the depiction of characteristic features found in the specific African groups that have caught the attention of Western cultures at this point in time.

A crouching figure, mourning Christ's death with outstretched arms that hold the arm of Christ, resides in the foreground of the Entombment miniature. The figure wears a heavy robe that “obscures the articulation of the body”Gould and is positioned to the right of the central axis. Both her gaze and gesture supporting the limp arm of Christ “lead the eye from the foreground to the middle ground and to the focal point of the composition, the faces of Christ and the Virgin,”Gould while relieving the horizontal line of Christ's recumbent body with her form. Judging from the foreground position, the fact that she is embracing Christ's arm, and her rippled hair exposed by the fallen hood of her cloak, all of which are “compositional and iconographic attributes in accordance with Mary Magdalene’s active role in the Lamentation found in the visual arts and devotional literature”Gould the figure crouching in the foreground of the Entombment miniature is Mary Magdalene, of which the inclusion, according to Gerard Cames, is a Western innovation of the 12th century.

In painting, the equestrian figure is also implicated in conquest, as he traverses a landscape that he metaphorically colonises or administers and which became (or was) his fiefdom, acquired and maintained more often than not through the exercise of illegitimate power. These iconographic conventions are here stood on their head (or lack thereof). In ‘Effigies of Turbulent Yesterdays’ we have a clash of different linguistic registers, with the powerful mimetic realism of the equestrian portrait meeting head on the schematised fountain of blood that springs from it, whose sources one can trace to miniature painting as well as comic book illustration. If the King is the Head of the State, then a decapitated monument is both a ludicrous and pitiful spectacle, – an act of iconoclasm which, like all forms of subversion attempts not to destroy it, but to turn it into an inverted representation of itself, or in this case, into an anti-monument that lays bare the disavowed histories of violence that sustain it, and by extension all such iconographies of power.

The context, form and significance of the MSA engraved ostrich eggshell collection from Diepkloof Rock Shelter, Western Cape, South Africa. Journal of Archaeological Science. – the earliest forms of abstract representation and conventional design tradition hitherto recorded. Geometric or iconographic representations have traditionally been archaeological categories associated with modern human behaviour and cognitive complexity. Evidence for abstract representations is well documented in Europe after 40,000 years ago, and for a long time it was therefore thought that the earliest form of art originated there.Mellars, Paul & Stringer, Chris (1989) The Human revolution : behavioural and biological perspectives on the origins of modern humans, Princeton, N.J., Princeton University Press. The evidence from Blombos Cave – and from sites like Klasies River, Diepkloof Rock Shelter, Klein Kliphuis and Wonderwerk cave – implies that abstract representations were made in southern Africa at least 30,000 years earlier than in Europe and that stylistic elaboration and symbolic traditions were common in southern Africa 70,000–100,000 years ago.Henshilwood, Christopher S. & d'Errico, Francesco (2011) Homo symbolicus: the dawn of language, imagination and spirituality, Amsterdam ; Philadelphia, John Benjamins Pub.

Interior of the basilica: view down the nave towards the high altar The mosaics found in Santa Maria Maggiore are one of the oldest representations of the Virgin Mary in Christian Late Antiquity. As one scholar puts it, "This is well demonstrated by the decoration of Santa Maria Maggiore in Rome,... where the iconographic depiction of the Virgin Mary was chosen at least in part to celebrate the affirmation of Mary as Theotokos (bearer of God) by the third ecumenical Council of Ephesus in 431 CE." The mosaics of the triumphal arch and the nave in Santa Maria Maggiore gave a model for the future representations of the Virgin Mary. The influences of these mosaics are rooted in late antique impressionism that could be seen in frescoes, manuscript paintings and many pavement mosaics across villas in Africa, Syria and Sicily during the 5th century. This being said the crowning of Mary on the Apse where made much later by Torriti by commission of Pope Nicholas IV.(13th century) These mosaics gave historians insight into artistic, religious, and social movements during this time.

In reference to Brazil, the planning and urban infrastructure projects stand out, such as the buildings of the Central Avenue, current Rio Branco Avenue, in Rio de Janeiro, as well as railroads, telegraphs, ports, rivers and canalization of the systems of water supply. The iconographic documentation has its starting point in the 1860s, coinciding with the expansion of photography. Of the universe of images produced by important national and foreign photographers who worked in Brazil and abroad, the archives of the National Agency (1930–1979), the newspaper Correio da Manhã (1901–1974) and the Ferrez family stand out (1839–2000), as well as private records of the Collection of Single Photographs. The collection of sound documents covers the period from 1902 to the year 1990 and consists of more than 11 thousand articles, including records and audio tapes of National Agency fond, Presidency of the Republic, Radio Mayrink Veiga, Humberto Franceschi, Radio Jornal do Brasil, Casa Edison and Public Amusement Censorship Service, as well as collections of classical and popular music.

The soldier who offered Jesus the sponge is often paired with Longinus, the name later given to the unnamed soldier who pierced Christ's side with a spear during the Crucifixion. It is not known when or how the name "Stephaton" originated for this character, though it had become common well before the end of the first millennium.Schiller, 93-94 In an iconographic tradition originating in Byzantine art, and continuing in Carolingian and Ottonian art,Schiller, 93-94, 101, 105 in depictions of the Crucifixion, he was regularly shown alongside Longinus, with their actions shown simultaneously, though in the Biblical narrative, these took place at different times (Stephaton's occurs before Jesus' death, Longinus' occurred after.) This is also seen in Irish artSchiller, 102-103; Colum Hourihane and others suggest the images should not be read as a simple narrative, but rather a mix of symbolism and representation typical of medieval art.Schiller, 93-94; Medieval Christian artists indicated that the sponge-bearer was irredeemably wicked (unlike Longinus), through conventions like showing him on Jesus' left- hand side, without a halo, and/or with some kind of physical deformity.

During the 1950s, 1960s and 1970s, the work of the Ofakim Hadashim (New Horizons) influenced new artistic trends in Israel. Some artists, like Yechiel Shemi and Aviva Uri, continued the work of the group after it dissolved, mostly working in a non-objective abstract mode. New Horizons' last exhibit was in 1963. A number of young artists joined the exhibit, including Raffi Lavie, Moshe Kupferman and Igael Tumarkin. In 1964, a new group of about 30 artists formed, called "Tazpit" ("Outlook"), This group carried the torch of abstract art into the 1960s and 1970s.See: Gila Blass, New Horizons, pp. 95-96. Zvi Mairovich Panda, oil pastel/paper 39 x 39 cm 1971 One of the artists on the fringe of the "New Horizons" group who developed a new style was Arie Aroch. In contrast to the ideal of the rest of the group, Aroch's works showed, in addition to lyric abstraction, a tendency toward substantive content. For example, "Red House (How Are Things at Home?)" (1960),For an iconographic analysis of this painting, see: Gideon Efrat, "The Aftermath of Arie Aroch's 'Red House'", Studio: Journal of Art, 62, May 1995, p. 35 (In Hebrew).

The traditional interpretation and title of his Prodigal Son in Munich has been challenged, with the assertion that it merely shows a "festive" tavern scene, despite the presence of an older woman and feathers in the girls' hair, often taken as diagnostic of a brothel scene.Hagen, I, 328–329; image Jacob Duck, 1635-40 Gerrit van Honthorst, Prodigal Son or Merry Company, 1622 Elmer Kolfin, in "the first comprehensive study to date on the merry company in Dutch art during the first half of the seventeenth century" divides the pictures "into three iconographic categories: "idealistic", which present mainly positive views of the festive activities depicted; "moralistic", in which such activities are condemned from a moral point of view; and "satirical", in which they are held up for ridicule, but chiefly for comic rather than moralizing effect" seeing a movement away from moralistic to idealistic treatments from the 16th to the 17th century.Nevitt, reviewing Kolfin Other scholars see a large group of paintings as deliberately ambiguous or open in their meaning; the limited evidence we have suggests they were often displayed in the main rooms of their owners' houses.

From the Romanesque period sculpture on churches became increasingly important in Western art, and probably partly because of the lack of Byzantine models, became the location of much iconographic innovation, along with the illuminated manuscript, which had already taken a decisively different direction from Byzantine equivalents, under the influence of Insular art and other factors. Developments in theology and devotional practice produced innovations like the subject of the Coronation of the Virgin and the Assumption, both associated with the Franciscans, as were many other developments. Most painters remained content to copy and slightly modify the works of others, and it is clear that the clergy, by whom or for whose churches most art was commissioned, often specified what they wanted shown in great detail. The theory of typology, by which the meaning of most events of the Old Testament was understood as a "type" or pre-figuring of an event in the life of, or aspect of, Christ or Mary was often reflected in art, and in the later Middle Ages came to dominate the choice of Old Testament scenes in Western Christian art.

According to Michael Handelsman, "unlike the fair-skinned European Virgins, she clearly has the facial features and coloring of a mestiza".Handelsman, Michael (2000), Culture and Customs of Ecuador (Series: Culture and Customs of Latin America and the Caribbean; Series editor: Peter Standish); Westport, Connecticut/London: Greenwood Press, pg 128. The work was signed and dated by its creator. A larger version of the work, by the same artist, is venerated in the Catedral de Nuestra Señora de la Asunción (Cathedral Basilica of Our Lady of the Assumption, Popayán) in Popayán, Colombia. This larger Virgin, known as Nuestra Señora de la Asunción de Popayán (Our Lady of the Assumption of Popayán), strikes a more exaggerated “dancing” pose atop a crescent moon and serpent, and prepares to strike the latter with a lightning bolt, which replaces the earlier work's heavy silver chain. Both of these figures carry the iconographic trappings more of the Woman of the Apocalypse than of an “Immaculate Conception” (the colors [blue and white], the floating) or an “Assumption” (the wings, the upraised arms), although elements of all three Marian "epithets" are present.

On October 11, 1991, at the opening ceremonies of Living in Leather, a Canadian version of the leather pride flag was presented, which added to the original flag's design a row of red maple leaves running horizontally through the white stripe. Also in 1991, Melbourne Leather Men became the first club to incorporate the design elements of the leather pride flag into their club colors. On December 12, 2000, NLA Florida presented a suggested pledge of allegiance to the leather pride flag at its holiday party in Fort Lauderdale, which reads, “I pledge allegiance to the Leather Pride flag, and the union of Leather people for which it stands, with safety, sanity and consent for all.” For the 24th annual Folsom Street Fair, held September 30, 2007, the official poster artwork was a controversial photo featuring well-known LGBT and BDSM community members in festive and fetish attire including Sister Roma "as players in an innovative version of the culturally iconographic" The Last Supper by Leonardo da Vinci, complete with table draped with the leather pride flag and "cluttered with sex toys, whips, and various (BDSM) restraints".

The History of the Indies of New Spain, Chapter 1 concerns the Jewish origins of the Aztecs, a very common idea at the time. Gods and Rite, Chapter 3 deals with the associated idea of circumcision So influential was this notion that 300 years later Bancroft in his monumental Native Races began his discussion of circumcision by writing: "Whether the custom of circumcision, which has been the great prop of argument in favor of the Jewish origin of the Aztecs, really obtained among these people, has been doubted by numerous authors," concluding that it probably existed in a "certain form among some tribes" (p278). The key being "a certain form", since Bancroft makes clear in a footnote that the majority of his sources, including Clavigero, Ternaux-Compans, Carbajal Espinosa, Oviedo y Herrera, and especially Acosta, believed Durán and others "confounded the custom of drawing blood from the secret organs with circumcision", and "the incision on the prepuce and ear to have been mistaken for circumcision", adding that this blood-letting riteIt is now thought this ubiquitous Mesoamerican ritual dates back to the Olmecs. See Olmec Bloodletting: An Iconographic Study was "chiefly performed upon sons of great men" (p279).

In these charts, Le Testu drew the outlines of an enormous Austral continent which covered the southern part of the globe and filled a considerable part of the Indian Ocean. This imaginary land derived from the Antichthone of the Greeks and had already been reactivated, notably by the mathematician and cosmographer Oronce Finé (1531) and by Le Testu's predecessors of the Dieppe school. According to the Portuguese historian Paolo Carile, the attitude of Le Testu reveals a cultural conflict between the old cosmographic beliefs and the demands of an empirical concept of geographical and ethnographical knowledge, influenced by the rigour of his Calvinist faith. Carile notes that while on the iconographic side Le Testu depicts an Austral Continent with strangely tropical conditions incorporating beasts drawn from fantasy and old legends, on the other side he nullifies these leaps of imagination by his admission that the land shown as part of the Terra Australis was still unknown and what was marked out on his map was based solely on imagination and surmise.Paolo Carile, "Les récits de voyage protestants dans l’Océan Indien au XVIIe siècle: entre utopie et réalisme", Ana Margarida Faleão et al.

After the conquest of the region by Alexander the Great and the subsequent wars between his generals, and according to the new interpretation of a new historical and iconographic source for Hellenistic history, a mosaic of Apamea discovered in 2011, proposed by Olszewski and Saad,1\. Marek Titien Olszewski, Houmam Saad, "Pella-Apamée sur l'Oronte et ses héros fondateurs à la lumière d’une source historique inconnue: une mosaïque d’Apamée", in: M. P. Castiglioni, R. Carboni, M. Giuman, H. Bernier-Farella (eds.), Héros fondateurs et identités communautaires dans l’Antiquité, entre mythe, rite et politique, Morlacchi University Press, Padoue,2018, pp. 365–416 () the foundation of Pella, the Macedonian military camp (') took place in the fall 320 BC, just after the Treaty of Triparadeisos (320 BC) at the initiative of Antipater, and Cassander's inspiration. In view of this interpretation, the authors disagree with the earlier hypothesises attributing the foundation of Pella to Alexander the Great or to Antigonos I Monophtalmos. From about 300 BC Pella receive a new status of polis, was fortified and established as a city (polis) by Seleucus who named it after his Bactrian wife, Apama daughter of the Sogdian warlord Spitamenes.

Moreover, here he collects an extensive iconographic setting (works of art, monuments, illustrations, posters, decorative objects etc.) about the traditional allegorical representation of Italy: a draped woman with a mural crown surmounted by a star upon her head. Between 2002 and 2013, he published two essays, one on Enrico Prampolini, the artist who played a major role in the futuristic aero-painting, the other on the "Vitruvian Man" by Leonardo da Vinci and the reinterpretation of this exemplary model of the human figure by avant-garde artists : the futurists, the cubo-futurists, the expressionists, but also the neo-classic artists of the "return to order" in thé Thirties or contemporary artists such Pistoletto, Nam June Pake, Dieter Appelt, Ontani, Arnold Skip. He also undertook to scrutinize Antoine Bourdelle's Proto-Cubism, Auguste Herbin's abstract art and Alberto Magnelli; the theatrical innovations of Luigi Pirandello, Pierre Albert-Birot, Emile Malespine; and in addition, the dialectical repercussions and reversals of the formal ideas of Futurism as they appear in the authors, artists and movements of the Neo avant-garde of the second half of the 20th century: Lucio Fontana, Alberto Burri, Frank Gehry, Eugène Ionesco, Arte Povera, Poesia Visiva, Process Art, performance and Image-Theatre.

The Romanesque church dedicated to Saint Loup at Naud, 8 km from Provins in Champagne in the east of France is distinguished by the outstanding sculptures in the porch of its great doorway, with an ambitious iconographic program in which Saint Loup mediates entry into the mystery of the Trinity. About 980, Sevinus, archbishop of Sens, made a gift to the Benedictine community of the abbey of Saint-Pierre-le-Vif at Sens of four altars in villa que dicitus Naudus, in honore sancti lupi consecratum--"in the demesne that is called Naud, consecrated in honor of Saint Loup"--betokening the presence of a shrine already on this site, a priory under the direction of the abbot of Saint-Pierre-le-Vif. Other documents mention Saint-Loup-de-Naud among the possessions of the abbey at Sens, seat of an archbishop with close political ties to the French Crown, who had Paris within his diocese. Thus, though it lay so close to Provins, a seat of the counts of Champagne and the abbey church was completed by Henri le Libéral, comte de Champagne, the priory at Saint-Loup-de-Naud looked to Sens for its patronage: a visit from the abbot is documented in 1120.

Sir Arthur Evans considered the fustanella of the female peasants (worn over and above the Slavonic apron) living near the modern Bosnian-Montenegrin borders as a preserved Illyrian element among the local Slavic-speaking populations.. In the Byzantine Empire, a pleated skirt known as the podea (Greek: ποδέα) was worn..: "While 35 plates have the warrior wearing the podea or pleated skirt (sometimes called a fustanella) attributed to Manuel I, the "new Akrites," in a Ptochoprodromic poem, and 26 have him slaying a dragon, neither iconographic element is sufficient to identify the hero specifically as Digenes because both the skirt and the deed characterize other akritai named in the Akritic Songs." The wearer of the podea was either associated with a typical hero or an Akritic warrior and can be found in 12th-century finds attributed to Emperor Manuel I Komnenos (r. 1143–1180). On Byzantine pottery sherds, warriors are shown bearing weapons and wearing the heavy pleated fustanella, including a mace-bearer clad in chain-mail.. In his Lexicon of Medieval Latin, Charles du Fresne suggests that fustanum (a piece of cloth) originates from the Roman palla.. Cotton was among the belongings of Pope Urban V (1310–1370).Bulletin Archéologique du Comité des Travaux Historiques et Scientifiques, p.