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This article proposes an ethnographic route, based on archeology, around the artisanal replication of a Marajoara urn with great local representation and often reproduced by artisans from Icoaraci (District of Belém) and from Marajó Island. Through the studies of its iconography, its artisanal replication, and the persistence of contemporary resignifications of its image, I propose to reflect further beyond the object, considering the important relationship of this ceramic piece with the people who are affected by it. [ABSTRACT FROM AUTHOR]

Investigating the concept of landscape through its representation is a multidisciplinary theme that can reveal much of the human trajectory and how it relates to, perceives, and interferes with its surroundings. The investigation proposed here aims to point out possibilities of analysis from the selection of some pieces of art, paintings, in which the landscape is represented, either as a background, either as the main theme or in dialogue with the other elements. The way it appears highlighted, its colors, compositional relationships and with other elements are fundamental to understand how the category of landscape would perceive, understood, and represented. In the end it is possible to understand it as part of a text not only in what could be readly seen, but beyond it. For this, the images were from Panosfsky’s Iconography and Iconology, extrapolating it also in the light of Cassirer, supported by Cosgrove’s geographical reflections, especially in his book ‘Palladiam Landscape’. [ABSTRACT FROM AUTHOR]

This article deals with how Zapatismo has aesthetically addressed its political transformation and the aesthetic fruits it has achieved. To this end, the text interprets how the Zapatista identity has been created and re-created through the visual language of the 203 murals found in the territories of the Zapatista Rebel Autonomous Municipalities, and how this identity challenges official Mexican revolutionary imagery and creates a new activist iconography for Zapatista bases and the Zapatista solidarity movement. The work on iconographic creation and restructuring has been theoretically inspired by Geneviève Zubrzycki. The article concludes that the Zapatista murals have common features, the result of an amalgamation of not explicit conceptions of various external and internal subjects that have been confronting the link between art and social transformation in different ways. [ABSTRACT FROM AUTHOR]

On the 24th of August, the day when Saint Bartholomew takes possession of the waters and the Devil is on the loose, the believers of the 19th century headed to the beaches of Foz do Douro for the holy bath, in search of protection against skin diseases, stuttering or demonic effects. Through the saint, the sins of the former skin were expelled to make way for a renewed soul and body. This act of apotropaic and prophylactic nature was transferred to the cultural practice that we know today: the Cortejo dos Trajes de Papel de São Bartolomeu. This playful and spontaneous manifestation originated in the ancient religious festival, keeping the memory of the stripping of costumes in the waters. Based on the image of Saint Bartholomew from the parish church of São João da Foz do Douro, we intend in this study to reveal the evolution of the cult, the practices and rituals to which it was associated and how it can be understood as a support for cultural permeabilities, reinforcing the need of the study of the image in its context. [ABSTRACT FROM AUTHOR]

The region and period generally associated with King Saul, i.e., the plateau of Benjamin in the Early Iron I-IIA Period (c. 1125-875 B.C.E.), has been the subject of intense debate over the past fifteen years. While European, North American, and Israeli archaeological and exegetical studies have remained restricted to socio-demographic and political discussion of the region, the religious beliefs and practices of the region's inhabitants have been neglected. In contrast to this strand, the present study examines the archaeological, epigraphic, and biblical sources of the period to identify the deities supposedly worshipped by the house of Saul. Such a task, described as impossible by prominent scholars in recent years, is made possible by the conceptual framework entitled "magical-mythic networks," which observes religion through a communicological perspective and by integrating data from visual culture neglected by these scholars. In order to identify the deities worshiped in the region, the artistic traces are analyzed materially and iconographically, and then compared to the names of known individuals (anthroponyms) and places (toponyms) to see the possible designations of the deities. Thus, by using the social organization and data from multiple sources, the article proposes two levels of deities that were likely part of the inhabitants' religious experience, as well as their possible identification. [ABSTRACT FROM AUTHOR]

The present article presents a study on pictorial elements for the Elderly. The aim is to understand which iconographic styles are most appropriate for the elderly considering the aging process. For such, it comments on inclusive design, its historical development, concepts and approaches. It also presents some parameters on inclusive iconography and finally reports the experimental research with 44 students from the Universities for Senior Citizens. The method involved tests of quality of life measurement, visual acuity, mental abilities and evaluation of levels of representation. The preliminary results show that the physiological problems are more decisive than the social issues in the definition of visual strategies, the chromatic element is the main component for perception and comprehension of visual representations and the illustration is the graphic style with greater potential of adequacy for controlling the color element. [ABSTRACT FROM AUTHOR]

The Brazilian monarchy, established in the middle of the independence process of the American colonies, needed to assert itself in the face of the growing republican movement that surrounded it through the creation of its own image, but also the allegories of its enemies. Based on the Francisco de Azevedo Monteiro Caminhoá monument project to commemorate the War of Paraguay, which central statue was rejected by the Imperial Academy of Fine Arts, we aim to make an iconographic and comparative study of the embodiment of a male Empire and, in contrast, of the monster of tyranny or anarchy as abstract enemies of the Empire, mainly through "smaller" but highly circulated works. [ABSTRACT FROM AUTHOR]

In 1907, a Portuguese military campaign arrived in southern Angola to subdue the local peoples. Among the soldiers, followed two photographers, who recorded different moments of the manoeuvres and various aspects of the landscape and the natives, which were later published in the press. In this article, I analyse these images in the context of the relationship between the European Self and the African Other(s). I show how the images contributed to an unequal power relationship between colonizer and colonized, by solidifying the representation of African primitivism, as an improper condition, which justified the European's civilizing action. [ABSTRACT FROM AUTHOR]

This paper targets to analyze two miniatures contained in the Gratian‟s Decretum, an aggregate of normative texts compiled in the 11th century. Gratian's manuscript is known to contain a variety of material covering legal texts, conciliar canons, epistles, Patristic texts, Bible passages, secular normative literature, and more. To analyze medieval images, I use the category gender as a historical conceptual tool. [ABSTRACT FROM AUTHOR]

This article analyses the role of iconography in writing from the specific case of Gustave Flaubert's The Temptation of Saint Anthony (1874). Initially, we will approach the historical origins of the story of Saint Anthony and its iconographic reception in the Middle Ages. After that, we will evaluate how Flaubert's narrative benefits from the repertoire of images on the theme of temptation and how the influence of iconography gains expression in the text. Finally, we will observe the processes of resignification and the modes of articulation between distinct languages (verbal and pictorial), to which the concept of hieroglyph, as seen in the light of theories of meaning, contributes. [ABSTRACT FROM AUTHOR]

Francis searched for the poverty and dispossession of the material things. However, the passage of the life of the saint for the construction of the Franciscan order properly speaking make these aims being subject of several contents. From the peregrination towards the stable settlements, between the hermitage and the city, it will be concerned several aspects of the material dimension of the seraphic experience, in relation to its house in the world. Attention will be paid to the place where the Franciscans had been occupied, specially focusing on the situation of the convent in the urban environment, about its medieval location even the precepts of the implantation and attributes in the city. It was considered the most significant facts during the period of the life of the saint and the episodes of the history of the Order in its process of expansion in the followed centuries, from the context of Assisi towards the whole world. [ABSTRACT FROM AUTHOR]

The article reviews categories such as Propaganda, Advertising, functions, rhetoric and typologies in the genre of the political poster defined by some of their authors, who through these definitions allow us to understand when we are talking about a political poster and when this is not the case. This is relevant, since the poster has regained its validity as an instrument for disseminating political ideas, gender discourses and ecological concerns to name the hottest topics of today. Thus the poster retakes a certain prestige as a propagator of ideals in the urban society, where it precisely had its origin and continues reflecting the social and political tensions that claim it as a genre that does not lose validity, being also a vehicle and support of the visualization of data in the context of campaigns of an ideological nature that in addition go viral and develop more widely in social networks, great protagonists of the current times. [ABSTRACT FROM AUTHOR]

Objective: Analyze the symbolic elements on the cover of the 1904 of Revista da Semana on Vaccine Revolt as a means of imaging a social and sanitary movement. Method: This is a documental research that has utilized as a subject the preliminary phases of Erwin Panofsky's notions, pre iconographic and iconographic. Results: The vaccine's uprising portrayed on the cover of the magazine of the week of 1904 shows the imposition of sanitary measures by the government and the popular participation in the struggle against these abusive and vertical proposals with the risk prevention's speech. Conclusion: With this study it was possible to do a deepening about two characters who are opposite representatives in a society marked by determinants, social disparateness and politics that didn't assist the health and economical reality. And it also portrayed the power relationship in force at the time steps that culminated in the movement of Vaccine Revolt were implemented. [ABSTRACT FROM AUTHOR]

The present article aims to identify the imagetic theology of the florentine artist Michelangelo Buonarroti, who was crystallized in the iconography of the sistine frescoes, especially in the fresco of the altar called Il Giudizio Universale. From the analysis of these frescoes, we will intend to understand how the pain, arising from the almost solitary elaboration of painting, amidst the theological and social instability of the period, marked its way of reading the world and its relation to the sacred, allowing the ideas of the Protestant reforms, read from the Italian reformist movement called Spirituali, were painted in the main temple of Christianity. [ABSTRACT FROM AUTHOR]

What can we consider to be common between the sculpture of Jörg Immendorff Fortuna: Läuferin auf der Weltkugel (1989), his painting Ohne Titel (Fortuna) 2000 and /or the different stereotyped figurations of the deity Fortuna throughout Culture and Art in Europe? The iconographies representing Fortuna and/or Tyché are mapped, considering their posture, pose and sketch of movement, as well as their attributes, objects and frames with which they are represented. There is substantive reflection on a compilation of certain selected images fulfilling a chronological arc, initiated in the Greek Antiquity, crossing the centuries and pointing out cases in Modern and Contemporary Art. What for the recurrence, repetition of stereotypes and conventional attitudes in the personification of the deity Fortuna, what contexts that determine it connected with Error… it is as if the world, in such disparate chronologies, was after all a doppelgänger, a small dimension in the face of cosmogonic gigantism. [ABSTRACT FROM AUTHOR]

Analyzing the image as an object of scientific study, and being understood as a document, this article seeks to carry out a review about the studies on Documentary Analysis and Image Content Analysis being applied in photographic, artistic and media images, for indexing purposes, carried out by the author Maria del Carmen Agustín LaCruz, being reviewed through six articles dating from 1999 to 2015. The methodology used will be qualitative with a descriptive and objective character to present the main contributions of the author in the area of Visual Semiotics. [ABSTRACT FROM AUTHOR]

The fieldwork carried out between 1974 and 1998 at Castro de Monte Mozinho (Penafiel) yielded a significant number of Roman oil lamps (high and low-imperial) and of production of indigenous tradition. The collection indicates a clear predominance of oil lamps originating from central-Italy workshops, Hispanic, but also of local (Castro de Monte Mozinho) and regional productions. Of the latter, many of them refer to a Bracara Augusta production, as that city was an important producer and oil lamps distributor known at conventus. The focus tends to be mainly on the regional market, as shown in Monte Mozinho. [ABSTRACT FROM AUTHOR]

The articles points out the historiographical partitionings which have led scholars to deal with spirituality and liturgy of the military orders without even suspecting the rich visual background of the commanderies. On their side, most of Art historians have studied the paintings of the conventual chapels without considering their historical background and, above all, the deep originality of military monasticism. It is possible then to offer an assessment, necessarily temporary, on the iconographic corpus preserved for the Templars and the Hospitallers in current France. The inventory of the painted images which have been preserved is not only provisory; it is not entirely significant as it is mostly reflecting the state of researches and as new findings can always enlarge the known material. From a chronological perspective, some scattered traces of ornamental decorations are remaining from the second half of the twelfth century, but most of the figurative images can be assigned to the last decades of the thirteenth century. Are these lieux d'images (using a french concept) revealing specificities which could be linked to the peculiar regular life which was followed in the commanderies? In other words, was the visual culture or the figurative thought of the military orders somehow distinctive? [ABSTRACT FROM AUTHOR]

El actual artículo tiene o propósito de apresentar la análisis iconológica de la pintura en el techo de la nave de la capilla de Nuestra Señora del Rosario de los Negros de la antigua Villa de São José denominada Anunciación. Pretendemos comprender el discurso cristiano proclamado a los hermanos del rosario negros através de las narrativas plásticas referentes al primero misterio de la vida del Cristo e de la Virgen María y associar la imagen con la literatura cristiana, especialmente aquellas relacionadas a los Sermões de P. Antônio Vieira dedicados a los esclavos, devotos de Nuestra Señora del Rosario. La iconografía exprime la relación entre la pintura con una propuesta, de cuño teológico, que busca evangelizar y convertir los miembros de la hermandad conpuesto, en su mayoria, por negros - africanos y descendientes - oriundos de diversas naciones y consecuentemente, portadores de distintas concepciones culturales y religiosas. [ABSTRACT FROM AUTHOR]

This article explores the English medieval tomb sculpture, focusing on the funerary phenomenon known as cadaver tombs or transi tombs. These tombs usually have two sculptural levels: at the upper level there is a traditional funerary effigy, with a sculpture representing the deceased as if in a state of slumber, - in some cases with the hands indicating a prayer - with all the elements that carry the values of their social position around their body. On a second level, downstairs, there is the sculpture of a decomposing body or the agony of death, having around itself macabre elements like worms and putrid elements that accompany the natural process of putrefaction. For the analysis of this occurrence, we will at first dedicate ourselves to a summary of the development of the tomb art in English territory in the medieval period. Soon we will weave relations among the changes in this artistic field after the Great Death of 1348, in order to finally look at the funerary statue whose effigy exhibits the rotten body of its patron. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the paintings of Cláudio da Encarnação that are in the ceiling of the hall that gives access to the sacristy of the Church of the Third Order of Carmel in Recife, Captaincy of Pernambuco. Using the concept of intertextuality, we aspire to identify the nub of the images, as well as the iconography of its characters, in order to understand the paintings as glorified portrayals of exemplary conduct for the Carmelite of the Third Order. [ABSTRACT FROM AUTHOR]

As a recent field, the studies of medieval illuminations have emerged as an important option to think the image in the Middle Ages. In Jérôme Baschet´s researches, the identification of the object-image is essential to think the different types of these images, made and seen by men, and an evidence of their feelings. The visual language presented itself as a fruitful expression to understand the medieval society. With its own characteristics, the medieval images are brought to discussion from the Historiography in this article to present the main concepts of medieval imagery and identifying them to a specific type: the image of the books. This imagery type, essentially linked to its support, is in the relationship of specific studies such as ornamentality, symbolism and materiality. The identified works are placed here to discuss the key features of visuality that identify the imago of the manuscripts [ABSTRACT FROM AUTHOR]

The article highlights the presence of iconic and aniconic material worship in the Old Israel, usually taken as a religion of concepts and ideas by the advent of the "objectbook". Thus, an exegetical, iconographic and archaeological analysis of the remains of the ancient religion of biblical Israel is carried out, especially regarding these items: worship stones or mașșebot; high places or bamoth; ăšērah; and Ark of the Covenant. We intend to comprehend what the perception of materiality in the pre-exilic worship was. [ABSTRACT FROM AUTHOR]

This article is part of my master's research in Language Studies occurred in the last two years. Our proposal was to study the illustrations of designers Tony Johanot and Gustave Doré are considered renewals of generic scenes of the first part of the novel Don Quixote, especially in relation to the representation of female characters. However, such considerations are presented as a cut of the great historical and cultural context in which the study of romantic illustrations should be considered. In this way, in the first part of this work we develop a brief historical background, adequate to explain the iconographic incidence as historical and social issues. Moreover, this issue is closely linked to the idea of canon or even literary monument, so common when referring to the most famous works of Dante, Shakespeare and Cervantes -for examples. Ultimately, having been properly replaced in the historic place they occupy, the Quixote illustrations are no longer mere circumstantial artifacts and become a kind of second layer of the book, unveiled by the romantic subjectivity, especially with regard to female representation. Therefore, in the second part, we will investigate these illustrations while semiotics systems in relation to the novelistic text. [ABSTRACT FROM AUTHOR]

We can clearly see in history and art criticism , the existence of hierarchies of delimiting the distance between art and craft . These forms of categorizations define artists originating from popular social classes, often self-taught , as primitive or naïve , occurring so the coloniality devices. On this perspective , we present in this article the artist João Sebastião Francisco da Costa. His productions have strong cultural elements , myths, legends , stories told by fishermen from riverside community , appearing in forms of paintings , ceramic sculptures , paper for drawing and stamping on fabrics . These iconographic images created by the artist, represent the culture of Mato Grosso, and inspiring reference for many other artists that link the arts scene in the state. [ABSTRACT FROM AUTHOR]

This article introduces to the iconography of Thesenblätter - posters advertising the theses of academic disputations, characteristic feature of an academic disputation in Catholic universities since the 16th until the 17th century - as a proper and important genre of Catholic European visual culture of the Baroque and Rococo. Next it introduces the Thesenblatt "Die Weltmission der Gesellschaft Jesu" (The World Mission of the Society of Jesus) engraved in 1664 by Bartholomäus Kilian to a design by Johann Christoph Storer. The article shows the wide and at the same time varied use of the religio cordis as imagetic language in this German Thesenblatt and points out how it characterizes the Jesuit world mission in particular and the Jesuit theology in general. The pictorial language of the religion of the heart establishes the idea of continuity between Jesuit theology, the Mass of Gregory, great mystics of medieval times and the Catholic reform and sets up an interface with the Renaissance world, to reinforce and promote the triple way of medieval mysticism as an ideal and orthodox spirituality. [ABSTRACT FROM AUTHOR]

The present paper aims to propose an analysis of the trio Sá, Rodrix & Guarabyra's long-playing record covers made in Brazil in the 1970's. Not only is an iconological analysis in the sense of description searched, but also an iconological approach. Such analysis is grounded on the art historian Erwin Panofsky's methodological suppositions, which propose an image interpretation. This paper also interacts with the historians Peter Burke and Eduardo França Paiva who highlight, in their methodologies, the possibilities of interpretation and the work with visual sources. This way, we aim to broach the long-playing record covers as musical facts and belonging to the built and production of the trio's musical performance sense studied. [ABSTRACT FROM AUTHOR]

In the present essay we work the cultural reverberations of roman culture in Passio Sanctorum Perpetua et Felicitatis and its participation in the identity creation of pre-constantinian Early Christianity. We use, to this, a rhetorical analysis of the account with an especial attention to exordium and doxology and, also, by the imagetic convergencies between the Sebasteion de Afrodísias and the account. We propose that the interlacement of the imaginary of Roman Empire and Christianism originated before the christianization of Empire, by the imagetic-cultural interpenetrations. [ABSTRACT FROM AUTHOR]

This paper deals with the legend of Saints Cosmas and Damian, patron saints of medicine doctors and their illustration in woodcuts in Portuguese Legendaries of Saints of the 16th century. The legend refers to the case of a cancer surgery with a leg transplant. [ABSTRACT FROM AUTHOR]

The comics are product of the cultural industry and, as such, they exercise influence in several levels of the contemporary life. Being in our middle since the first years of the century XX, such graphic narratives were consolidated to the point of to develop an own cognitive universe, with concepts and exclusive categories, starting from which it is possible to establish wide dialogue with the scientific knowledge. Exploring the concepts of Erwin Panofsky's theory, the methodology iconological is applied the Superman, the first and more famous super-hero of all of the times, to identify and to analyze the iconographic evolution of its visual identity along the trajectory of their publications. [ABSTRACT FROM AUTHOR]

This study aims to describe the Egyptian representations of the afterlife as a path, a journey to rebirth. Although this journey has been described since the funerary texts of the Old Kingdom, is was only in the New Kingdom that its several stages were illustrated and codified in iconography. However, it is only among the pictorial decoration of the coffins of the 21st Dynasty that we find the full development of these themes. Our study focuses on the vignettes used in the decoration of the 21st Dynasty anthropomorphic coffins that illustrate the afterlife of the deceased. Some of this rich iconographic repertoire is only now beginning to be studied. We will focus our analysis on the coffins held at the Sociedade de Geografia de Lisboa. And highlight the narrative character of these representations, describing some of the most important vignettes as episodic allusions to the journey of the deceased in the Duat [ABSTRACT FROM AUTHOR]

St Ursula is the patron saint of the Ursulines. In the 16th century, two Portuguese versions were produced of the section of the Legenda Aurea Sanctorum by Blessed James of Voragine O.P. containing the Legend of Saint Ursula and her eleven thousand virgin companions. In addition, two types of images of these martyr saints appear in the Legendaries of Saints that appeared in Portugal during that century: one of these portrays the martyrdom of the Saints and the other shows them standing, their heads surrounded by a nimbus. This paper discusses the above-mentioned texts and illustrations. It also discusses the recent discovery in the Public Library in Evora of a woodcut printed in a book published in the same century representing the Holy Trinity as a single figure on a throne. [ABSTRACT FROM AUTHOR]

This research aims to understand the genesis of the idea of Brazilian nation through the nineteenth century's iconography, approaching the study of images and deepening into the analysis of four artworks: Engenho da cachoeira. Corte de cana-de-açúcar by Hércule Florence, Primeira Missa no Brasil by Victor Meirelles, O Grito do Ipiranga by Pedro Américo and Evangelho das Selvas by Benedito Calixto. Besides the pictures we paid attention to the texts belonging to the same period, mainly those produced by the cultural elite related to the Instituto Histórico e Geográfico Brasileiro (IHGB), to the travel reports as text-images, as well as to the emergence of the Instituto and of the Academia Imperial de Belas Artes (AIBA) in a context of pursuit of homogeneity in the promising Brazilian nation. [ABSTRACT FROM AUTHOR]