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Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resumen: El presente artículo se plantea como una propedéutica al estudio del cómic ensayo o ensayo gráfico, desde su nacimiento con autoconsciencia hasta la actualidad. Con la voluntad de trazar una genealogía de obras significativas, el artículo incide en aquellos aspectos formales relacionados con estrategias de montaje que resultan relevantes en la forma-ensayo a partir de desarrollos de investigación en el campo del cine. Además, y de manera central, se propone una metodología, basada sobre todo en la iconología de Aby Warburg para el estudio del ensayo como fórmula didáctica y de transmisión de la tradición en el contexto de las formas de no ficción en el cómic. Abstract: This paper serves as an introduction to the study of the graphic essay or comic essay, tracing its evolution from its self-aware inception to the present day. With the intention of establishing a genealogy of significant works, the article emphasizes formal aspects related to montage strategies that are relevant to the essay form, drawing from research developments in the field of cinema. Furthermore, at its core, it proposes a methodology primarily based on Aby Warburg's iconology for the examination of the essay as a didactic formula and a means of transmitting tradition within the context of non-fiction forms in comics. comic; essay; iconology; editing; Aby Warburg.

Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context.

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iranian Civilization Research is the property of Shahid Bahonar Kerman University, Faculty of Literature & Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Exploring medium-to-large datasets of social media imagery can be challenging. This paper describes a digitally-assisted iconology, a hybrid methodology that includes machine learning and data analytics for sorting through medium-sized datasets of images that lack metadata to describe their pictorial content. The method plays to the strengths of current digital technologies. Using machine learning, pictures are first clustered in a preliminary stage based upon basic formal presentational characteristics. Thematic analysis follows this preliminary stage, based upon an expansion of Aby Warburg’s “pre-coined expressive values”, which are frequently found in pictures displaying high levels of user reception. Once clustered via these two separate stages, the researcher can then drill down using familiar forms of visual analysis to explore how similar concepts have been rendered in different ways. The analysis may be augmented by exploring the commentary appended to these pictures, which adds a further level of detail providing insight into end-user interpretations. The approach – including its drawbacks – is demonstrated via a consequential dataset of pictures shared on Twitter in 2015, after a Syrian child was found drowned off the Turkish shore. Derivative imagery based upon the original photographs referenced longstanding iconographic themes.

References to the divine have been frequent in the history of Christian art. As examples, this article surveys the symbolism of light and gold, the rhetoric of gesture, and the theatricality of the pictorial space. Sacred art is closely linked to biblical, liturgical and theological texts which are full of metaphorical expressions of transcendent realities. Since artists, patrons and viewers considered these texts authoritative, they must be consulted to interpret artworks correctly. This study argues that Catholic theology and the magisterium have constantly called for references to the divine. As a theoretical framework, this image theology helps to interpret the art-historical data with new questions that tourists and communicators today usually do not ask. This is because Christian art mediates the meaning of divine revelation, which is not self-explanatory. It needs to be decoded with a method interested in both images and texts. Erwin Panofsky has presented such a method. His 'iconology' consists of three steps for describing, analyzing and interpreting images. This article claims that the interpretation of Christian art is a prime example of the ongoing applicability of Panofsky's method as a tool for decoding iconography in pastoral, academic and social media communications, and examines a selection of best practices in such communications. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The dolphin motif on the ship-shaped oil lamp treasured in the Museum of Smederevo (4th century AD) has complex iconography, multi-layered and complex symbolism, and a long history. This article presents and explains how its iconography and meaning were gradually formed and developed in ancient Greek and Roman art, as well as the peculiarities of its gradual transformation into a Christian symbol. It is found that the context of the appearance of the dolphin motif in art during different epochs is not a mere coincidence, but the expression of a clear intention on the part of particularly learned artists and commissioners of works of art. Since there are no written records of this motif that would explain its iconography and meaning, and since the motif itself is by nature very hermetic, and at the same time very rare, the characteristic context of the appearance of the dolphin motif in art is also a decisive parameter for analyzing its meaning and its gradual formation.

AbstractReferences to the divine have been frequent in the history of Christian art. As examples, this article surveys the symbolism of light and gold, the rhetoric of gesture, and the theatricality of the pictorial space. Sacred art is closely linked to biblical, liturgical and theological texts which are full of metaphorical expressions of transcendent realities. Since artists, patrons and viewers considered these texts authoritative, they must be consulted to interpret artworks correctly. This study argues that Catholic theology and the magisterium have constantly called for references to the divine. As a theoretical framework, this image theology helps to interpret the art-historical data with new questions that tourists and communicators today usually do not ask. This is because Christian art mediates the meaning of divine revelation, which is not self-explanatory. It needs to be decoded with a method interested in both images and texts. Erwin Panofsky has presented such a method. His ‘iconology’ consists of three steps for describing, analyzing and interpreting images. This article claims that the interpretation of Christian art is a prime example of the ongoing applicability of Panofsky’s method as a tool for decoding iconography in pastoral, academic and social media communications, and examines a selection of best practices in such communications.

In this paper, icons are understood as holy images in a broad sense, including murals, mosaics and miniatures. An icon is considered as a channel of communication with the sacred reality revealing itself through the icon. The numinous experience of ascetics during their devotional prayers in front of icons is described and conceptualised. This experience is categorised following its increasing intensity: (1) visions of a tunnel extending beyond the icon; (2) gleaming of icons; (3) apparitions of Christ or saints depicted on the icon; and finally, as a climactic point, (4) rapture or ‘energy discharge’. In particular, the images of a tunnel, transcending the icon and extending beyond its surface, can be found in some miniatures, frescoes, and icons of the 13th – 15th centuries as well as in some patterns of spatial ornamentation in Serbian and Bulgarian churches. The author argues that images of glowing icons reflect real ecstatic experience evoked when praying in front of icons. Then the paper turns to icons that represent apparitions of Christ or other holy figures to ascetics praying in front of their icons. Finally, the topic of ‘hidden’, i.e., veiled or curtained icons in Cypriot monasteries is explored. This tradition, which implies that a person can be “punished” for looking at or touching a miraculous icon, has, as the paper suggests, a completely different meaning. It is not addressed to all pilgrims, as it was customarily understood, but only to ascetics. According to Gregory Palamas, a true ascetic is able to sense uncreated energies, and this ability is a danger and a grace at the same time. Статья рассматривает икону как канал связи с сакральным миром, который являет себя через неё, и ставит задачу описать нуминозный опыт подвижников во время предстояния иконе. Этот опыт классифицируется, в порядке возрастания его интенсивности, следующим образом: (1) ощущение туннеля, уходящего за икону; (2) свечение иконы; (3) явление Христа или святого, изображённого на иконе; (4) в пределе, как возможность – энергетический удар. Материал для описания этих явлений содержится в самих иконах, свидетельствах адептов, а также в преданиях и легендах вокруг чудотворных икон. «Икона» понимается в статье в широком смысле, включая фрески, мозаики и миниатюры. Автор привлекает внимание к изображениям туннеля, уходящего как бы за плоскость иконы, на ряде миниатюр, фресок и икон XIII–XV вв. Указывается также на пространственный орнамент в сербских и болгарских церквях, среди примеров которого есть и изображения туннеля как такового. Автор обращается далее к теме изображения свечения иконы на самих же иконах, приводит примеры таких сюжетов и высказывает мнение, что эта тема возникла как отображение реального опыта подвижников. Далее рассматриваются иконы, на которых отображено явление Христа, Богоматери или святых подвижникам во время их предстояния перед иконой. Наконец, автор исследует тему сокрытых, то есть закрытых покрывалом или занавешенных, икон в кипрских монастырях. Предполагается, что эта традиция, подразумевающая, что человек может быть «наказан» за взгляд или прикосновение к чудотворной иконе, имеет совсем другой смысл и обращена не к каждому паломнику, как это принято считать, а к подвижникам: именно они способны ощущать нетварные энергии особенно остро, как об этом писал св. Григорий Палама, – и это не только опасность, но и благодать.

The article is devoted to establishing the reasons for the emergence of a Christian church with three vestibules, which is not possible without answering the question about the reason for the presence of side entrances to the liturgical space of the interior. The symbolic understanding of the church space in the 7th–10th centuries underwent a transformation from the cosmological model «Church – Space» to the model «Church – «earthly heaven»» (according to G. K. Wagner). The New Jerusalem from the Book of Revelation is considered as a specific spatial image of the Christian Heavenly World, which became the basis for the architects of the «earthly heaven». A church building with three separate entrances is seen as a «spatial icon». Quotes from the Vision of the prophet Ezekiel are analyzed, as well as the opinions of various researchers on the use of geometric forms in a church building opening on four sides. Brief conclusions are drawn about the symbolism of these forms, the anthropomorphization of the plan of the cruciform building, comparisons of iconography and the structure of the space. Studying the works on the history of the Byzantine church rite allows us to analyze the inclusion of the vestibule space in the course of worship. Particular attention is paid to the history of the emergence of a new type of worship in Constantinople in the 4th century, which had a significant impact on the architectural structure of Hagia Sophia in Constantinople. The functional necessity of the side vestibules is analyzed based on the historically formed trajectories of people's movement during the liturgy. Based on a study of bibliographic sources, a hypothesis is suggested about complex reasons that led to the emergence of churches with three vestibules: constructive, iconological, semantic, liturgical, and functional.

Copyright of Iskolakultúra is the property of University of Szeged, Faculty of Arts & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the epistemological relation between two types of scientific image produced during a botanical expedition to New Granada in the late eighteenth and early nineteenth centuries: herbarium sheets and botanical illustration. Visual analysis of an exceptional collection of these two types of documents brings to light how scientific ideologies were transferred from Europe to New Granada, during the transformation of this latter from a colony to a republic. This study shows how features such as composition, proportion, and pictorial technique derive from both aesthetic choices and epistemological necessities. It reveals the development of a codified visual language resulting from a highly organised and structured outcome, complying with Carl Linnaeus' principles of classification, and materialising a new way of looking at plants based on Isaac Newton's universal mathematical principles. [ABSTRACT FROM AUTHOR]

Copyright of Slavica (0583-5336) is the property of University of Debrecen and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material.

Ondel-ondel is a folk entertainment that developed by the Betawi community since the 1970s. Until now, Ondel-ondel still survives and has even become an icon of the capital city of DKI Jakarta. However, the existence of Ondel-ondel is even more threatened, especially after the implementation of a regional regulation of DKI Jakarta Province which prohibits Ondel-ondel as a means of busking. This condition is ironic considering that historically Ondel-ondel was used by the Betawi community as a means of entertainment and became a form of art and culture for the Betawi community. Thus, this study raised Ondel-ondel as a research topic. The research was conducted to examine the visual appearance of Ondel-ondel with iconography and iconology theory approach of Erwin Panofsky. The iconography review emphasizes the theme and concept of Ondel-ondel’s visual appearance which is personification of ancestors. Meanwhile, the interpretation of iconology is the result of the search for the meaning behind the visual appearance of Ondel-ondel which is form of balance of power between anger and kindness and courage and holiness.

Sharing photographs and photo-chatting are common practices in doing family at a distance. This study looks at the processes of the production and circulation of photographs within the family network, analysing participants' narratives about their image-based communication in WhatsApp. The data was collected as an ethnographic enquiry into the digitally mediated (transnational) family communication of five Polish women and their children living in Finland. It consists of five auto-driven visual elicitation interviews with an interactive collage, three elicitation interviews, with the participant's smartphone used for fast reference to their in-app chats, and one semi-structured interview. The in-app photographs are explored as 'imagetext', that is, visual and verbal representations that create the WhatsApp 'iconology' of family visual communication. In participants' narratives, photographs are regarded as an obligation (always to be sent to somebody), evidence (of being somewhere or achieving something), or a form of visual co-presence with living-apart relatives. Photo-chatting entertains (images of pets), provides expertise (snaps of medication), or is used to show off (photos taken at competitions). Photo-chatting helps to maintain family relationships by showing affection, comforting, and caring over a distance. [ABSTRACT FROM AUTHOR]

People of the Guoshan Yao of Liannan, northern Guangdong mainly migrated from Hunan and Guangxi provinces, chose to settle in Liannan during the Daoguang period of the Qing Dynasty about 200 years ago, and they were named Guoshan Yao people because of the long migratory life. Since Guoshan Yao of Liannan in northern Guangdong, does not have any written language, costume patterns have become the main way of recording the history and life of the Yao people, and have become a visual representation of their culture. It is also known as the “wordless history book” of the Guoshan Yao of Liannan and is of great research value. The study method based on iconology is an interdisciplinary approach to interpreting the cultural messages conveyed by artworks by linking their forms and themes to the cultural environment in which they are located. Based on the fieldwork, we collected and collated the costume patterns of Guoshan Yao in Liannan in northern Guangdong, and then analyzed them through the iconographical study method from three levels, including “pre-iconographical description”, “iconographical analysis” and “iconographical interpretation”. We summarized the rules of artistic expression of costume patterns in four aspects: craft techniques, decorative parts, composition rules, and color composition. We also traced the origin, story, and moral meaning of the costume patterns and explored the cultural connotation contained in the costume patterns from the perspectives of ethnic historical background, live production, worship concept, and psychological emotion. Finally, the following conclusions were obtained: from the level of “pre-iconographical description”, the costume patterns of Guoshan Yao in Liannan are characterized by exquisite craftsmanship with mainly reverse embroidery, traditional decorations that imitate the image of the legendary Panhu, regular composition with multi-layered nesting of characters, and ancient, pure, and evenly distributed multicolor color scheme; from the level of “iconographical analysis”, the costume patterns of the Guoshan Yao in Liannan depict the long and turbulent migration history of the Yao people, the combined production methods of agriculture and hunting, the worship rituals to please the gods with dances, and the fusion beliefs of the core of the Panhu; from the level of “iconographical interpretation”, the formation of the costume patterns of the Guoshan Yao in Liannan is influenced by the need for identification and convenience of movement during migration, the need for practical and economical production, the need for physiological survival of reproduction and access to resources, and the need for spiritual psychological comfort and emotional catharsis. We systematically analyze the costume patterns of the Lianan Passing Yao in northern Guangdong from the perspective of iconography, summarize the artistic expressions, story meanings, and fundamental principles of the costume patterns of Guangshan Yao in Liannan, northern Guangdong, and provide an in-depth link between the art of Guangshan Yao costume patterns and the social history of the ethnic group, a more comprehensive understanding of the culture of Guangshan Yao costume patterns in Liannan, and a deeper interpretation of the connotation of the costume patterns, as well as different ideas for the subsequent study of traditional ethnic costume patterns. [ABSTRACT FROM AUTHOR]

Copyright of Profil súèasného výtvarného umenia / Contemporary Art Magazine is the property of Kruh Sucasneho Umenia Profil and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Academic Social Resources is the property of Journal of Academic Social Resources and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ABSTRACT This paper involves the psychoanalytic and iconological analysis of two paintings by the Romantic artist Carl Alexander Simon held at the Schlossmuseum in Weimar: Selbstbildnis mit Tirolerhut and Die Braut des Künstlers. Simon produced these paintings in 1830, almost 20 years before travelling to South America, where he continued his artistic career and carried out an ambitious colonisation scheme. This is the first study to scrutinise these paintings. This essay’s primary purpose is to unveil overlooked aspects of Simon’s works, determining the extent to which intricate personality traits began to emerge in these works. The central argument is that various features of these paintings are early instantiations of a messiah complex which will be determinant to understanding his colonising endeavour in Chile.

The labels or tags that, attached to the bottles, serve to identify their content, have their heyday in the Marco del Jerez in the period between the last third of the 19th century and the Spanish Civil War. Among the iconographic motifs that serve to illustrate this new form of emblems, there are those alluding to the classical world, although they do not constitute a majority. This paper seeks to find the reason why these iconographic motifs are used, either because of the quality of the wine or liquor, the target public or the place where it is to be consumed. [ABSTRACT FROM AUTHOR]

Copyright of Millars: Espai i Història is the property of Millars: Espai i Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Research in Humanities is the property of Tarbiat Modares University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study is a contribution to the iconography of St. John the Almsgiver. The paper focuses on the copper engravings and the painting of Joseph Kurtz from the 18th century in Slovak collections, which depict St. John the Almsgiver distributing the alms. While writing the study, we gradually discovered that to explain the etchings and the painting, we need to examine the origins of this iconographic theme. It was confirmed that the form of the representative portrait of St. John Almsgiver originated in Byzantium. Byzantine psalter illuminators undoubtedly created the essential iconographic attributes with portrait features of the scene. However, it is also indisputable that the transfers and robberies of the saint's remains before and after 1204 contributed significantly to the cult of the saint in several places in the Latin West. An important factor in consolidating the cult was the saint's inclusion in the Golden Legend hagiographic collection. This collection's illustrated manuscripts and first prints undoubtedly influenced the composition of the iconographic scene of the distribution of alms by St. John the Almsgiver. The Hungarian king Matthias Corvinus, who received the entire body of St. John Almsgiver most probably based on the peace treaty, and his court had contributed to the extraordinary promotion of the cult of the saint. Thanks to the painted decoration of the chapel in Buda, where the remains of the saint were kept, visual representations inspired by the Golden Legend collection spread not only in the territory of today's Slovakia but also in several places in today's Poland. Only the paintings of the 16th and 17th centuries prioritized the iconographic scene of giving alms to such an extent that most of their elements were adopted by Gustav Adolf Müller. In the representative crypto portrait of Joseph Kurtz, the beggars are strikingly similar, as if they were a multiplication of the exact figure. If we accept such an interpretation, the question of the reason for such a procedure arises. A hypothesis could be made that the painting was a mixture between a representative portrait and a narrative image. [ABSTRACT FROM AUTHOR]

The Bisotun relief is one of the most remarkable carvings of the Achaemenid period; Its uniqueness is that it can be distinguished from other reliefs of the Achaemenid period in terms of location and specific subject. The Bisotun relief narrates the suppression of rebels and insurgents who, during the time of Darius, claimed that Bardia owned the throne. With the help of some Persian aristocrats, Darius started suppressing them in different parts of the Achaemenid empire. In this relief, the description of these victories is engraved differently. This research aims to read the manifestations of repression on the Bisotun relief, based on Panofsky's iconography theory, and analyze the Darius era's social and political background using this approach's analytical methods and the text of Bisotun relief. The method of this descriptive-analytical research is based on Panofsky's theory. The information-collecting method is library and field, and the analysis is qualitative. The research findings and results indicate that the existing discourse in this relief shows a type of violence. It also implies Darius's manifest approach in planning and implementing the Bisotun relief. By elaborating on this relief's formation factors and analyzing and interpreting human motifs according to the social and political subtext of that period, it is possible to assume a propaganda function. [ABSTRACT FROM AUTHOR]

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material. [ABSTRACT FROM AUTHOR]

In the Illustrations in Roll and Codex (1947), Kurt Weitzmann developed a methodological apparatus for studying Byzantine and medieval narrative book illumination. His approach had two important features: an evolutionary narrative typology that paid attention to the narrative strategies the painter chose for presenting a story and a comparative narrative analysis that observed stories in illustrations in relation to their textual source. The focus of this paper is the personal and institutional background of this method, its context, dissemination, and legacy. Weitzmann advanced the study of pictorial storytelling through his pedagogical work and introduced it into the academic curriculum. Alongside stylistic analysis and iconography, it soon became an essential methodological tool in art history that constituted a link between the art of the Byzantine East and the Latin West. This approach also had a key influence on the style of his autobiographical writings. Weitzmann propagated the study of visual narratives through his extremely productive oeuvre and effective personal influence. In the dissemination of Weitzmann's ideas, three institutions played a key role: Princeton University, Dumbarton Oaks, and the University of Chicago. Weitzmann's circle made Byzantine studies the leading field for research into visual narratives over the period from around 1940 to 1980. [ABSTRACT FROM AUTHOR]

Copyright of Ideas y Valores is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the dawn of the Late Preclassic Period, the archetypical figure of the Old Man started to adorn a variety of artifacts manufactured by Maya artists and artisans. This article aims to present and examine an unprovenanced effigy-flute whose poly-globular resonator has been adorned with the visage of the toothless nonhuman being. Traditionally referred as God N, God D, or Itzamnaaj/Itzam Kokaaj, depending on the context and his sphere of control, this theopolymorphic figure has been the subject of numerous extensive investigations. The fact that his wrinkled face has also been applied to the body of prestige woodwind artifacts suggests a possible symbolic link between the divinity, the sonorous field, the instrumental practice, and ritual performances. However, the topic has received little scholarly attention. Dated from the Late Classic period and registered under inventory number 1981.033, this aerophone is currently part of the Musée des Instruments de Music's permanent collection (mim) held in Brussels, Belgium. Furthermore, this sounding artifact shall be considered as a unique example of sonorous mediation with the supersensible given the fact that it combines significant iconographic features with a specific organological configuration. Therefore, the analysis of the flute contributes to better comprehend the figure of the elderly Maker. [ABSTRACT FROM AUTHOR]

In this paper, I explore the iconographical relationship between the letters and the support on fol. 157r of the Morgan Gospels, written and illuminated in Westphalia, Germany during the mid-tenth century. On the basis of its formal properties and the iconographic meaning it takes, I will give particular attention to the materiality of the Latin text and its cultural and symbolic significance. The folio under study develops a form of ‘agency’. With this perspective, I hope not only to contribute to the important line of argument Joshua O’Driscoll develops in his iconic article, but also to explore the meaning of Latin as an iconological statement and hence to contribute with new methodological developments in the field of art history.

This work aims to interpret images extracted from the first editions of the work Aritmética da Emília (1935 and 1947) by Monteiro Lobato. When we consider the image as a participant element of the text, it becomes an interpretive key for the narrative plot, appearing as indispensable for the text, because it not only facilitates reading, but, before that, allows the perception of elements that without it wouldn't be noticed. Our analysis option will be based on Ginzburg (2002 and 2007) and Manguel (1997), in addition to authors located in the field of Mathematics Education, such as Dalcin (2008), Brito (2011) and Dalcin and Brito (2014). Our reflection extends to the writing of history, seeking constituent elements in the reading, writing and teaching triad, when presenting a written analysis in dialogues between the characters consecrated by Lobato - the Viscount of Sabugosa, the Emília doll, Pedrinho and Narizinho. This writing, which approaches the way of doing that is typical of fictional aesthetics, by mobilizing dialogues between characters, amplifies the debate, emphasizing the dialogical character of the construction of knowledge, as opposed to aspects that present knowledge in a ready-made, finished, concluded way. We hope, with this, to let a glimpse of the symbiotic relationship between reading-writing-teaching and the world-image. [ABSTRACT FROM AUTHOR]

This study introduces the preliminary design of LiberIC, which is a description and cataloging tool that collects, controls, contextualizes, classifies, and grants access to representations of books in painting. We worked with a research sample consisting of two thousand paintings via the application of an exploratory and descriptive methodology. Through direct observation of these art pieces, we detected characteristics and particularities that could provide meaning to the pictorial representations of books in them. The collected data was then organized into major categories of information. Taking the principles of description and organization of knowledge as a starting point, and according to the formal style of other widely consolidated international cataloging rules, these categories were, henceforth, refined and progressively adjusted. As a result, we developed a descriptive code that arranged the collected data in nine areas and nearly 100 description fields, ultimately allowing every record to be retrieved through different authorized access points. To delve deeper into the shapes and meanings of these representations, we designed three of these areas in accordance with the theoretical foundations of modern iconography and iconology, which establish three distinct phases in the description, analysis, and interpretation of objects in Art. This tool fills a gap in the scientific literature and opens new paths of study. The way data have been structured generates a description model that can be extrapolated to other subjects. Replacing book description fields with description fields related to other types of objects produces a system capable of describing and cataloging any type of iconography. [ABSTRACT FROM AUTHOR]

The linguistic and discursive dimensions of art theory and art writing are currently attracting renewed critical attention. This article analyses some of the constructive strategies employed by Erwin Panofsky in shaping his own language, challenging a reductionist understanding of his alleged 'logocentrism' and of the verbal and visual as categorically distinct media. I focus mainly on Panofsky's early writings on medieval art as a case in point to characterize his conception of the writing of images as an act of interpreting. Drawing on the distinction between the language of the art historian and the role of language in the history of art, I will emphasize the pivotal role of Panofsky's 'Reflections on Historical Time' as a logical premise for his definition of iconological analysis. As part of a 'unity of meaning', the written word related to artworks is to be regarded—Panofsky seems to suggest—as inseparable from the visual evidence. [ABSTRACT FROM AUTHOR]

This work studies the iconography of Vicent Macip's altarpiece dedicated to Saint Dionysius and Saint Margaret, which is found in the Cathedral of València. The main subject of the altarpiece is the presence of the Virgin Mary in salvation history. Iconographic categories have been described according to their possible relationship to the descriptions that appear in Francesc Eiximenis's Vida de Jesucrist [Life of Jesus Christ, in Catalan] (Hereafter, this text will be referred to as VCE). or Isabel de Villena's Vita Christi [Life of Christ, in Latin] (Hereafter, this text will be referred to as VCV), which are important works of 15th-century Valencian literature in the Catalan language that were read during the time the altarpiece was finished. [ABSTRACT FROM AUTHOR]

Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)