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Based on ethnographic, environmental and iconographic information, linked to the “land snail” Scutalus spp., the ritual context of a funerary nature is addressed, to which the representations of this molusk in Mochica ceramics are associated: both the colecction scenes, combat and mountain sacrifice, as the designs of snails, hybrid animals, among others. Representations of snails can be located on the summer and winter solstices, as well as -exceptionally- when El Niño/Southern Oscillation occurs. The mollusk can be considered a metaphor for water and regeneration, and its morphology develops the symbol of the spiral in three dimensions, replicated in architectural models with a spiral ramp, as well as in the exceptional case of a Mochica ceremonial well. [ABSTRACT FROM AUTHOR]

The article addresses various strategies of recreation of the political enemy in graphic representations of the PCE and PCI, mainly of the sixties and seventies. The introduction highlights the iconographic tradition about otherness present in the communist visual culture of both countries, then analyzing the dominant features of the Italian and Spanish imaginary in relation to different semantic and formal tactics (simplification, degradation, brutalization...). The text underlines the link between representations of the enemy and qualification of the communist identity, as well as its continuities, modulations or ambiguities in the contexts of "historical compromise", late franquismo and the democratic transition. [ABSTRACT FROM AUTHOR]

In popular culture, the term mainstream is related to those icons of cinema, art, and politics that have spread in a globalized world thanks to the media and advertising, transcending decades and re-emerging at different historical periods. This research will observe how social media users create content using the chosen cultural icons (Frida Kahlo, Che Guevara, Marilyn Monroe, and Pablo Picasso). The methodology has a mixed approach with quantitative variables—total number of publications, reach, impact, engagement—and qualitative content analysis to find the values mainly attributed to each of these icons in social media. The content analysis reveals that the publications are used almost exclusively as a tribute and branding, that Frida Kahlo is the character most used to sell art and fashion, and with whom young people (20–30 years old) identify the most, and that the images of Che and Marilyn Monroe are the ones that get the most likes and comments, with the highest level of interaction and engagement (especially among the 35–45-year-old audience). Concerning the analysis of the values most represented in the publications (which strengthen a massive discourse), art is the intangible most used to personify Frida and Picasso. At the same time, patriotism and freedom are more linked to Che and love, beauty, and sensuality to Marilyn. [ABSTRACT FROM AUTHOR]

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]

This article analyzes Silvina Pachelo's illustrated edition of Esteban Echeverría's El matadero with the aim of exposing how the Buenos Aires painter rewrites one of the foundational works of Argentine literature through a visual code. Taking as a starting point the concept of the illustrator as critic, proposed by Lorraine Janzen, I argue that the illustrations offer a space of visibility to the female subjects who, marginalized in Echeverría's text, point to the endemic state of violence against women in Latin America and that, especially in the last ten years, has been exposed in literature through different aesthetic formalizations. The result is a tense but productive dialogue between word and image that updates, once again, a work that seems to be inexhaustible in its interpretation. [ABSTRACT FROM AUTHOR]

This article discusses the representation of the mythical, theological, and picaresque imaginary created around Diego Armando Maradona within different artistic expressions, including criticism, literature, and cinema. The aim is to understand how Maradona's image has been crafted as a footballing, mythical, and iconographic character, especially in the film Amando a Maradona (2005) by Javier Vázquez, which is here subjected to a close reading. We argue that part of Maradona's mythological construction in his sports performance, and his filmic and literary appearances, is generated by means of an iconographic imaginary of poetic, symbolic, material, and affective vindication of the moving picture. [ABSTRACT FROM AUTHOR]

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]

Pasión del Cristo is a Maya archaeological site located in the Mexican state of Campeche, in Río Bec region. Archaeological work has been carried out since 2017, focused on archaeological survey, the elaboration of maps of the main assemblages --which have allowed the identification of different groups and isolated structures, as well as areas of exploitation and production--, and the registration of the graffiti found in one structure. This publication deals with results of these works, emphasizing the study of Group 4A1a and the painted and incised graffiti found inside its rooms. [ABSTRACT FROM AUTHOR]

This text addresses the artistic theme of women as the embodiment of death through the motif of the female corpse in the film The Autopsy of Jane Doe (André Øvredal, 2016). The construction of the character of the dead woman is based on the stereotype of the fatal woman, connecting with misogynistic iconographies that demonize female sexuality through the link between evil and carnality. In the iconographic analysis, cultural products are critically analyzed from a feminist approach that find their reason for being in a gendered condition of evil, becoming aware of the ideology that permeates them. Beauty is conceived as a trap or artifice, relating the female body with temptation, danger, death and corruption. Under the cover of a fantastic narrative, old moralistic clichés are updated that rest on aesthetic definitions of beauty/ugliness loaded with patriarchal implications. [ABSTRACT FROM AUTHOR]

The art of the Amarna Period presents some unconventional features with a unique artistic style in Egyptian culture. Queen Nefertiti plays a fundamental role in Amarna iconography. No other queen is depicted with such frequency, and it is remarkable how her figure as queen evolves throughout the reign of Akhenaten, breaking certain traditional canons historically established for Egyptian royalty. One of the most significant and emblematic attributes of royalty is the crown, an ornament of gods and kings. The review of the iconography, following a timeline, and the analysis of the different crowns worn by the queen throughout the Amarna period, constitute an indicator of the importance that she is acquiring, as well as a line of investigation to try to determine the power that she holds in each of those moments. [ABSTRACT FROM AUTHOR]

The unusual iconographic program of the Fuero Juzgo preserved in the National Library of Spain is made up of two unparalleled illuminations. The first represents the Blessing of the marriage of Adam and Eve; the second is an arbor consanguinitatis that starts from Jesse. In the present study we will delve into its theological meaning by tracing in patristic and iconographic tradition the link that unites both elements -Jesse and the tree of consanguinity- and, in turn, these with the blessing of the union of the first parents. This allows us to recognize the insistence of its creator on the sacramental character of marriage, the link of the images with the contemporary nuptial liturgy, as well as to explain the meaning of these religious images in this juridical manuscript. [ABSTRACT FROM AUTHOR]

The imago of Justice has attracted attention since ancient times and, in the most recent period, the approaches to the subject have multiplied. The question that arises here is not about the image of Virtue itself, although it is valued and taken into account, to point out its unity without forgetting the fickle aspects of its alleged monolithic configuration, capable of generating important changes in its iconic appearance. The study concentrates on the revision of its absences in medieval Catalan art. To describe and analyse these hollow spaces that make us think of a denial of Justice -understood in its feminine personification- I examine their repeated or sporadic presence in different places of Europe while approaching those that were their alternatives in Catalan religious and civil contexts. This cessation in its functions should not have been conditioned only by a lack of knowledge and, in any case, could be the result of a disjunctive graphic thinking that prioritizes other issues and motives when it comes to representing the idea of judgment or justice. [ABSTRACT FROM AUTHOR]

The set of manuscripts of the Siete Partidas produced in the Middle Ages testify the impact, importance, and relevance of this legal work in Castile and other peninsular kingdoms. This importance led to the commission of illuminated codices by relevant figures with images that illustrated the different laws or legal concepts and, at the same time, served as a way of ornamenting and dignifying these manuscripts. In this study the author analyses the presence of religious iconography in the codices of the Siete Partidas, classifying the most notorious religious iconographic themes, as well as possible parallels in other late medieval illuminated legal works. [ABSTRACT FROM AUTHOR]

This article presents the results of a close investigation on the manuscript Clm 14011 preserved in the Bayerische Staatsbibliothek of München. The manuscript was produced in Genoa at end of the XIII century and contains the Decretals of Gregory IX, the Collectio III of Innocent IV and the Constitutiones of Gregory X. The style of miniature and multicolored initials suggests the work of two different artists: the first, who painted the miniature at the beginning of each book, was deeply influenced by Paduan school; the second, who painted the initials, was a Genoese artist who followed the language of the so-called Master of ms. Lat. 42. Finally, the analysis of the iconography of each miniatures reveals how religious themes and details were reused in the illustrations of a legal manuscript. [ABSTRACT FROM AUTHOR]

Editorial introduction to "Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th Centuries)". The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies. [ABSTRACT FROM AUTHOR]

In the transition from the 15th to the 16th century, Pedro Berruguete left some of the best examples of his artistic production in Ávila. Shortly after his death, Vasco de la Zarza stood out in that city as responsible for the introduction of the Renaissance language in sculpture. In this article we will analyse Zarza's assimilation of Berruguete's models, which will allow us to provide a new perspective on the relationship between the two artists and on the sources used by one of the most outstanding masters of Castilian sculpture in the first quarter of the 16th century. [ABSTRACT FROM AUTHOR]

A red-figure hydria from Capua in Badisches Landesmuseum (Karlsruhe, Germany) depicts a young man and a woman standing next to a ship. This article examines the iconographic details that allow us to recognize a farewell scene next to the stern of the ship. The importance of the ship's stern in governing a voyage is emphasized by the stylis, a tall rod symbolizing the presence on board of the god who protected navigation. On this Campanian artefact of the 4th century BC, Zeus the Saviour is in fact evoked by the inscription painted on a tablet fixed on the rod itself. [ABSTRACT FROM AUTHOR]

The Dojura indigenous community (Emberá-Chamí) of Colombia is losing its traditional iconography because it has also lost contact with its ancestral territories as a result of forced displacement. This article proposes construction of a methodology to recover those symbols based on Nonaka’s SECI (socialización, exteriorización, combinación e interiorización) model. This is meant to systematize signs and resignify them so that the community’s cosmogony in the territories its members currently inhabit allows them a sense of belonging to the environment. The article reveals how, through the systematization of this experience and different exercises of knowledge generation, it is possible to recover symbols and support a community learning process as part of safeguarding the cultural practice of bead weaving. [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]

Recent absorbed residue studies have confirmed that ceramic and shell containers were used for consuming Datura in precolumbian times. Until now, no one has identified what tools precolumbian people used to produce a concentrated hallucinogenic concoction. In this study, we used mass spectrometry to identify Datura residues (a flowering plant with hallucinogenic properties) in two late precolumbian composite bottles from the Central Arkansas River valley. Unlike the construction of most Mississippian bottles, the bottles in this study are unique because ceramic disks with a series of concentric perforations were incorporated in the bottles at the juncture of the bottle neck with the globular portion of the body. The organic residue analysis revealed Datura residues in both bottles. We argue that the internal clay disks served as strainers that allowed Datura producers to separate the hallucinogenic alkaloids from the Datura flower to produce a powerful liquid beverage. [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]

This research to determine the pre-Hispanic context of the Dresden Codex argues that it is Late Postclassic (1250 ad-Spanish conquest) and that it is not necessarily from the area of Chichen Itza. The conclusions modify the view of J. Eric S. Thompson, still highly influential after nearly fifty years, that it was painted in or near the settlement between 1200 and 1250 ad. Because the manuscript is a copy from Classic period sources, it is necessary to establish its date according to the most recent revision. This can be determined from a group of objects in the illustrations that are closely linked with Late Postclassic art. The study further supports interpretation of the period in neutral terms, not decadence. [ABSTRACT FROM AUTHOR]

The essay deals with the classic motif of the bivium in relation to the figure of Philip II and the literature of his time, sticking to the allegorical poem Triunfos morales by Francisco de Guzmán, published for the first time in 1557 in Antwerp and dedicated to the king. In particular, the lyrical expression of the bivium in Guzmán's work is examined in view of the literary and iconographic tradition, putting it in relation to that outlined by some of the many writers who dealt with this classic motif during the reign of Philip II. [ABSTRACT FROM AUTHOR]

Throughout the years there has been many works published about Barbosa Rodrigues' life and work, especially regarding his botanic and ethnographic research, his expedition to Amazonia, and his period as director of the Rio de Janeiro Botanical Garden. In these works, one photograph had a recurring appearance: Barbosa Rodrigues sitting in his cabinet. In this paper, we propose to analyse that photograph as a historical document to reflect on the different layers of symbolism it carries and on the public image of science and scientists in contemporary scientific culture. When considered as historical documents, one can glance at the intentions and designs behind photographs, which can reveal information about social and power relations, biographies, and in this case, the scientific work of a botanist in his cabinet. [ABSTRACT FROM AUTHOR]

the promotion of cult spaces has served for two purposes. First, to develop iconographic programs with religious content; second, to portray propaganda programs about the royalty, which were related with politics decisions. In East Roman Empire the political and religious propaganda messages were essentials in the beginnings of sixth century. In general, the traditional historiography of art has paid attention in the figure of emperor like in charge of promoting this type of visual language, that it reflected his government decisions. However, in a more subtle and symbolic way, the empresses and court women exercise as promoters of religious buildings. From these artistic manifestations, linked to the architecture, can be decoded some political and religious messages related with the royal families legitimacy. In this article will take care to the power fight between Empress Theodora from Constantinople and Anicia Juliana through the constructions of Hagios Polyeuktos Church --today lost-- and the Saints Sergius and Bacchus Church. Both women were in constant challenge to keep own power position. Theodora and Anicia Juliana leaned in different Christian religious communities to the environment of Constantinople to get followers that would consolidate the legitimacy of their own lineage. Finally, that we can see in the mosaics of Saint Vitale of Ravenna Church, Anicia Juliana «became part» in female court of the Empress Theodora, but she was died in 528. Maybe that representation of Anicia Juliana with Theodora constitutes an image that showed, metaphorically, the unity of two of the most powerful women in that byzantine context. [ABSTRACT FROM AUTHOR]

On the occasion of the end of the Third Carlist War and the entry of Alfonso XII into Madrid on March 20, 1876, the main city of the Kingdom experienced three great days of festivities, articulated in a complex program of events. By the time of the greatest event, a good number of ephemeral architectures were built in the city. Among them, the Arch financed by the Municipal Corporation stands out on Calle Mayor. The objective of this research is to offer a holistic vision of this architecture, focusing on the liturgy that developed into it and its constructive and iconographic aspects. [ABSTRACT FROM AUTHOR]

This article sees the light as the result of a research accomplished at the Xaverian Historic Archives, in Bogotá. The investigation allowed the author to have direct access to the documentary files gathered from different national and international archives, on the goods and chattels which made up the decoration of the church owned by the Society of Jesus in Santa Fe de Bogotá. The actual enclosure, in its decoration, has been modified over the years, having been adapted to the taste of the epoch and to the historic circumstances by which it has been marked, like the fact that it was converted into pro-Cathedral, after the expulsion of the Jesuits from the Kingdom of Spain, in the latter part of the 18th century. Thus, the claim of this article is to try to unveil the first level of the theological-spiritual and didactic reading of the original decorative ensemble of the temple that belonged and still belongs, to the Society of Jesus. Therefore, we will realize a reflection on how the image, the art, that was used always by the Catholic Church to transmit the faith, is a fundamental tool to express a theological content which could be understood by the persons who contemplated it; and we will propose the possible keys of reading, obviously, from the point of view of the Ignatian spirituality, so as to explain from it, the message that the Jesuits were sending to the Bogotanian people, or to any other faithful, who would enter into the sacred place. [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 passion of the apostle James the Greater is one of the main cycles of his hagiography. It is worth recalling the various medieval texts and traditions that recreated the narrative, although the Passio Iacobi and later the Legenda Aurea should be singled out as the most important sources for the iconographic elaborations. There is also room for the miracle exercised from the thaumaturgic condition granted to James by Christ: the healing of a paralysed man is the decisive motif for the conversion of the scribe Josiah. However, the iconographic representation of this event was not very abundant in the Romanesque and Gothic centuries, as opposed to the baptism of Josiah and, above all, his beheading together with the apostle himself. Apart from possible theological considerations, the lesser fortune of this figurative register must also have been influenced by the synthetic nature of the iconographic cycles themselves, therefore its evocation was necessarily implicit in the inclusion of the conversion-baptism of Josiah. [ABSTRACT FROM AUTHOR]

This article is a compilation and study of the images of Juan Sebastián Elcano produced from the 16th century to the end of the 19th century. The iconographic repertoire found is made up of engravings, drawings, paintings and sculptures that depict in an idealised way the effigy of the navigator or some episode in his life related to the first circumnavigation of the Earth. These images, most of them with clear commemorative and patriotic component, are analysed by taking into account their symbolic values and the historical-cultural substratum from which they arise. [ABSTRACT FROM AUTHOR]

The visuality of Temperance arose in Middle Ages with the predominance of Italian trends. During the 15th and 16th centuries, a new iconographic type for Temperance appeared in the French scope of the "new visuality" providing new attributes. This innovation was the iconic depiction of the features that thinkers attributed to this virtue. The present research is about the appearance, analysis, continuity, and variation of the iconographic type of Temperance in the "new visuality". Thereby, visual innovation is explained from its relation with written sources and the continuity and variation of images. [ABSTRACT FROM AUTHOR]

Exploring the incredible success and diffusion of the Nursing Madonna motif from an historical, anthropological and artistic point of view, this paper aims to investigate the political dynamics associated with the motif itself and the devotion related to it. The Nursing Madonna motif is a useful point of access to see which symbolic horizons, especially those linked to corporeity, are activated in the difficult relationship between the power élites and popular culture in establishing political legitimacy. This investigation aims at exploring this relationship in different socio-cultural contexts of the Mediterranean by enriching the analysis through a comparison between the post-Tridentine censorship on the motif and the revival of the theme in the Mughal empire between the 16th and 17th centuries. [ABSTRACT FROM AUTHOR]

In the paper, three French lithographs that show scenes of dance during the French Intervention in Mexico are analyzed iconographically and iconotextually: a caricature published by the newspaper Le Charivari and two prints included in a plate of the Nouvelle imagery. The images were contrasted with letters, memoirs, song lyrics, journalistic information, and pictures of illustrated albums, Mexican and foreign, with the aim of exposing some references, speeches, and French graphic languages with which Mexican women and their relations with the foreign troops were identified, represented, and made known. [ABSTRACT FROM AUTHOR]

Este trabajo identifica íconos de numerales asociados a dos tipos de cómputo del tiempo plasmados en el arte de Teotihuacan durante el periodo Clásico (150-650 dC). Primero, se analiza la pintura mural del altar de Atetelco, distinguiendo seis íconos de números y un símbolo matemático empleados para computar cuentas de 104 años trópicos, y 72 y 7.300 ciclos sinódicos de Venus. Un segundo análisis muestra que ambas cuentas fueron usadas en obras de estilo teotihuacano mediante una iconografía distinta al sistema numérico de puntos y barras. Las fechas teotihuacanas pueden ser correlacionadas con los registros de la cuenta larga del área Maya, lo que nos permite datar los monumentos y artefactos arqueológicos mediante la iconografía. La evidencia muestra que los teotihuacanos midieron el tiempo a largo plazo plasmando las cuentas en complejas obras como parte de la institucionalización del registro del tiempo. [ABSTRACT FROM AUTHOR]

An iconological analysis of images that circulate on the internet is carried out to explore the visual representations built on workplace bullying. The images were captured in two moments through the Google Images search engine, in 2018 and January 2021. The literature on this phenomenon is contrasted, with the characterization of the images found on the wide world web, the rhetorical figures used, the interactions and contexts that are positioned in them, the elements made visible and invisible about workplace bullying, and the sociocultural principles that these images express. [ABSTRACT FROM AUTHOR]

This article presents the digital repository "Biblioiconografía mexicana de los siglos XVI y XVII" as an electronic educational resource that registers, catalogs and specifies information on New Spain's editorial production. Specifically on the engravings used in New Spain's printed books during two stages: 1540 to 1600 and 1601 to 1650; In both periods, the copies were carefully collated to form a refined and complete corpus of the works printed in New Spain, with a figure close to a thousand engravings. The methodology starts from the concept of biblioiconography and is supported by material analysis, to account for engraving as an element that can be studied in its iconographic composition; but also as part of the book as a unit of analysis. In this perspective, our Repository offers specific information about the engraving, its description and its location in the printed book of New Spain. It is available for free consultation, with the intention of promoting research on this period. [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]

Bodies are nuanced, fluid, and political—often combining forms of intersecting and experiential identities. Nevertheless, bodies are frequently missing from maps altogether or, when they are included on maps, they are reduced to points, lines, and polygons. Focusing on iconography, I explore the depiction of bodies in map symbolization through a feminist lens. I apply a feminist semiotic analysis to thirty-eight Maki icons to problematize the ways in which bodies are depicted, abstracted, or erased. I analyze icon symbolization, particularly the presence/absence of bodily forms, the presence/absence of an embodied object, and the icons' iconicity. My feminist analysis reveals the underlying silences, defaults, and power dynamics within the Maki icon set. I call mapmakers to rethink the depictions of bodies in icons—and the role of "universal" icon sets, more broadly—through a feminist lens. I offer design opportunities as a starting point for such an endeavor. [ABSTRACT FROM AUTHOR]

With the purpose of examining the procedures involved in the technical treatment of iconographic images represented on early maps, a qualitative investigation was carried out that analyzed the set of practices and guidelines applied in the map libraries of Ibero-American national libraries for cataloging and systematization of these elements. A structured observation was made on a percentage of records with high iconographic content available in the online catalogs of the study libraries and the data collected was compared with the current cataloging regulations and with the iconological method of Panofsky, from the field of theory and art history. Finally, through a questionnaire, information related to the establishment of policies and procedures manuals prepared by these institutions for the approach of images in old cartography was collected. [ABSTRACT FROM AUTHOR]

Las escenas de los bajorrelieves del Templo Norte de Chichén Itzá han sido investigadas durante muchas décadas, y los estudiosos han coincidido en que ilustran el ritual de inauguración del nuevo rey o gobernante, quien atraviesa diversos desafíos y ordalías y quien se distingue por portar un turbante de serpiente. En este artículo ampliamos esta idea y argumentamos que la iconografía del Templo Norte muestra rituales particulares que también son descritos en una de las historias del Chilam Balam de Chumayel, que refiere a la entronización del famoso príncipe Hunac Ceel de Mayapán. Además, presentamos datos y consideraciones adicionales que nos llevan a proponer que Chichén Itzá, durante el período Postclásico temprano, tuvo un sistema de gobernanza dual jerarquizado, que más tarde continuó en Mayapán, sobreviviendo a la conquista española en el reino de Petén Itzá. [ABSTRACT FROM AUTHOR]

In this paper we present a review about the murals located in the Temples of the Descending God (Temple 5) and the Frescos (Temple 16) at the pre-Columbian city of Tulum, Quintana Roo. We first study some of the characters dressed as gods, as Chahk, K'awil, Quetzalcóatl, and Xólotl. Secondly, we analyze the ritual paraphernalia, mostly composed of ceramic objects in the form of effigy urns, incense burners, idols, containers with offerings of corn in different preparations, and large jars used to contain liquids, presenting correspondences with the archaeological record. Afterwards, we analyze the intertwined serpents, as well as the vegetal elements that we identify with the flower and fruits of balché tree. Finally, these data are integrated in order to interpret the meaning of the Tulum murals in relation to the practice of bending over the maize stalks in the autumn, and also to the first fruits harvest, which coincides with the flowering of the balché tree and the beginning of the harvest of tajonal honey in Yucatán. [ABSTRACT FROM AUTHOR]

The writing-image association is one of the fundamental characteristics of art in pre-Columbian Mesoamerica. This combination was particularly developed and used by the Maya for almost 20 centuries. Far from constituting only an artistic process, the joint use of these two modes of visual communication allowed the transcription of a very complex symbolic thought and was one of the main tools of the propaganda of the (political) power of the Maya elites. In this article, the main principles that govern the pre-Hispanic Maya scriptural and iconological systems will be exposed, especially insisting on the continuum comprised by text and image in their artistic expressions. Here will be particularly examined and discussed the swinging and mixing games between iconic or non-iconic figurativeness and symbolism in the construction of the signs used to generate meanings with which they entertain relationships of different kinds, often metaphorical, based on cultural conventions, rich of teachings for our understanding of the ancient Maya. [ABSTRACT FROM AUTHOR]

The present article intends through an iconographical and iconologycal analisys of the paintings Hercules and Omphale and Samson and Delilah painted by Diego López el Mudo demonstrate its interest as documentary source in order to comprehend how desire was understood and depicted in Spanish Baroque Culture. [ABSTRACT FROM AUTHOR]

Little is known about the phenomenon of the personalization of politics at the subnational level and its relation to propaganda. For this reason, this article analyzed how propaganda persuasion is configured in the print ads of the campaigns of two political phenomena that emerged in Antioquia: uribismo and fajardismo. The study was carried out through the methodology of iconological and iconographic analysis of the advertisements published in the newspaper El Colombiano between 2003 and 2015. It was shown that the propaganda actions developed by the candidates are not focused on their political proposals but on games of seduction towards their audiences, which contributes, directly, to exacerbating the personalization of politics at the subnational level. [ABSTRACT FROM AUTHOR]

Cerro Sechin, in the Valley of Casma, has been subject of a numer of archaeological interpretations. Its mural paintings and carved lithic slabs had been interpreted as scenes of war, bloody sacrifices and even as a medicine school in ancient Peru. In this paper, we are offering an archaeostronomical, mithological and ethnographical undertsnading of one of the iconographical representations least known of the site, that of a polichrome fish decorating one of the earlier architectural phases of the site. This interpretation suggests a gradual transition to a cult centered more in the nature of the communion between the natural and supernatural worlds more tan in the deities or processes responsable of said communion. These instead refer to an iniciatic voyage through which man transforms itself to re-establish a cosmic and social order to maintain water flowing between worlds, to sustain life during the Early Horizon in the Valley of Casma. [ABSTRACT FROM AUTHOR]

The recognition of cultural practices around the archaeological assets documented in the Cundiboyacense highlands, eastern Andes of Colombia, allowed to identify narratives that account for possible relationships between myths, rites, and recorded archaeological assets. Through an ethnoarchaeological and iconographic study in 31 archaeological glasses and 20 ethnographic vessels of the Archaeological Museum of Tunja, it was possible to identify discursive, typological and morphological relationships between the rite of sowing water that is still practiced by highland peasants and the myth of Muisca origin Bachue. [ABSTRACT FROM AUTHOR]

The iconographic cycle of the wound and the conversion of Saint Ignatius of Loyola had a specific origin, focused in the Vita written by Pedro de Ribadeneyra in 1572 and later disseminated by various engraved series, among which the one by Pieter Paul Rubens from 1609 and that of the Galle brothers of 1610. And it is that the devotion to the founder had an outstanding importance in the Society of Jesus, whose authorities commissioned the first artistic ensembles on the life of Ignatius even before his beatification and contravening the express prohibition of Clement VIII. However, the canonization of Ignatius in 1622 marked the starting point for the great diffusion of his iconography through the pictorial cycles carried out by some of the most prominent artists of the 17th and 18th centuries. [ABSTRACT FROM AUTHOR]

The main object of this work is to study the coins’ iconography of virtues from the antonine dynasty (96 d.C - 192 d.C) during the Early Roman Empire. This work is focused on the meaning of these virtues emitted after the death and deification of empresses. These virtues can be employed to acknowledge the role played by these women in Roman politics. Besides, studying virtues is a good way to analyse the biography of these Roman empresses and therefore, their public image. This study pretends to contribute to provide information about Women and Roman History. In order to achieve these goals, it is necessary to make a comparison between which virtues are emitted during their lives and which ones after their deaths. This study follows a methodology usually employed on Women History, so gender is used to analyse power relationships in the past. [ABSTRACT FROM AUTHOR]

This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The halfturned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites. [ABSTRACT FROM AUTHOR]