scholarly journals A Search for the Hidden King: Messianism, Prophecies and Royal Epiphanies of the Kings of Aragon (circa 1250–1520)

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 143
Author(s):  
Serra Desfilis
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Point Of View ◽  
Specific Context ◽  
Late Medieval ◽  
Common Space ◽  
Crown Of Aragon ◽  
The Subject ◽  
Abundance And Diversity ◽  
Point Of Departure

Modern historiography has studied the influence of messianic and millennialist ideas in the Crown of Aragon extensively and, more particularly, how they were linked to the Aragonese monarchy. To date, research in the field of art history has mainly considered royal iconography from a different point of view: through coronation, historical or dynastic images. This article will explore the connections, if any, between millennialist prophetic visions and royal iconography in the Crown of Aragon using both texts and the figurative arts, bearing in mind that sermons, books and images shared a common space in late medieval audiovisual culture, where royal epiphanies took place. The point of departure will be the hypothesis that some royal images and apparently conventional religious images are compatible with readings based on sources of prophetic and apocalyptic thought, which help us to understand the intentions and values behind unique figurative and performative epiphanies of the dynasty that ruled the Crown of Aragon between 1250 and 1516. With this purpose in mind, images will be analysed in their specific context, which is often possible to reconstruct thanks to the abundance and diversity of the written sources available on the subject, with a view to identifying their promoters’ intentions, the function they fulfilled and the reception of these images in the visual culture of this time and place.

I. Portraits

2004 ◽  
Vol 34 ◽  
pp. 5-28
Keyword(s):  
Art History ◽  
Classical Antiquity ◽  
Roman Art ◽  
Roman World ◽  
Art Form ◽  
Roman Coins ◽  
Country Houses ◽  
The Subject ◽  
Point Of Departure ◽  
As If

Portraiture is among the most obvious legacies of classical antiquity. Roman busts of rulers and private individuals, sculpted in marble or occasionally cast in bronze, are the frequent inhabitants of museums and country houses. Imposing portrait-statues survive in great numbers, albeit frequently missing some of their extremities. We also have many smaller and more subtle images like those carved in gems and semiprecious stones, and, of course, the heads on Roman coins whose influence on the design of modern money is still obvious. The very custom of modern portraiture itself is, broadly speaking, derived from Rome, though it is easy to take it for granted as if it were an obvious or universal art-form. The Roman world was truly crowded with portraits. They are the subject of intense study and interesting debate. As such they present a useful point of departure for this survey of Roman art history.

scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Personal Experience ◽  
Fine Art ◽  
Art Practice ◽  
Human Race ◽  
The World ◽  
Long Time ◽  
The Subject ◽  
Complex Forms

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

The singer, not the song: women singers as composer-poets

Popular Music ◽  
1994 ◽  
Vol 13 (2) ◽  
pp. 191-199
Author(s):  
John Potter
Keyword(s):  
Twentieth Century ◽  
Black Women ◽  
Performance Analysis ◽  
Point Of View ◽  
New Synthesis ◽  
The Subject ◽  
Musical Evolution ◽  
Joni Mitchell ◽  
Considerable Detail ◽  
Point Of Departure

In his comprehensive celebration of women singers in the twentieth century, Wilfrid Mellers proposed a three-stage socio-musical evolution from the jazz, blues and gospel songs sung by black women, through the black-inspired white singers who followed them, to a new synthesis of singing poet-composers (Mellers 1986). Within this third category, very much the main point of the book, Mellers deals in considerable detail with a range of singer/song writers, from Joni Mitchell and Dory Previn to Rickie Lee Jones and Laurie Anderson. In this article I should like to take this concept of the woman singer/song writer as a point of departure from which to look at two very different kinds of singer: different, that is, both from each other and from any of the singers dealt with in the Mellers book. It has always seemed to me to be characteristic of much of Wilfrid Mellers' writing (and certainly of Angels of the Night) that he never lets his musicological agenda get in the way of his fundamental enjoyment of the music as a fan trying to make sense of his own taste. The reader can accept or reject his thoughts about the significance of it all, and not get so blinded by musicology that you cannot face listening to the songs: that, after all, is in the end what we are supposed to do. In what follows, I, too, write as a fan, but since performers do not often get the chance to bite back at musicologists, I should also like to take the opportunity to question from a singer's point of view a certain kind of performance analysis used by many musicologists. The subject is fraught with ideological booby-traps, so I should confess right away that I am a middle-class, middle-aged English married father.

Reading the garden in Byzantium: nature and sexuality

1992 ◽  
Vol 16 ◽  
pp. 1-19 ◽  
Author(s):  
Charles Barber
Keyword(s):  
Visual Culture ◽  
Point Of View ◽  
The Subject

The subject of the Byzantine garden is primarily to be tackled from texts, and is very much a subject of its texts. My research on the Byzantine garden began from an art historian’s point of view, I wanted to examine the possibilities of interpreting the garden as an example of visual culture. How was the garden represented? What did the garden look like? But the information demanded by such questions proved to be thin.

scholarly journals Ideology Connected to Death and Deification of the August. The ‘Double’ Body of the Emperor: an Alleged Attempt to Overcome

Nova Tellus ◽  
2021 ◽  
Vol 39 (1) ◽  
pp. 131-170
Author(s):  
Antonio Pio Di Cosmo ◽  
Keyword(s):  
Visual Culture ◽  
Point Of View ◽  
Roman Emperor ◽  
Cultural Codes ◽  
The Subject ◽  
Rhetorical Features

This research focuses on the ideology behind the death rites of a Roman emperor. Here I analyze the inventive rhetorical features concerning the subject as visual culture, loci, descriptive formulas and cultural codes. It refers in particular to literature that concerns the death of the Roman emperor, which is analyzed from the point of view of rhetoric and iconography. So I find a fiction or a dubious “reality”, through introducing a witness who confirms the veracity of deification.

scholarly journals Perspectivism of the Renaissance Thought

2020 ◽  
pp. 8
Author(s):  
David Menčik
Keyword(s):  
Art History ◽  
Middle Age ◽  
Philosophical Anthropology ◽  
Point Of View ◽  
Content Difference ◽  
Starting Point ◽  
Original Works ◽  
The Subject ◽  
The Difference ◽  
The Universe

The starting point of the essay is clarifying the difference between the mono-perspective and multi-perspective vision of reality. Off-course the terms perspective, mono-perspective and multi-perspective are not self-explanatory and the meanings of these terms need to be formally analysed. After making the formal difference between mono-perspective thinking and multi-perspective thinking a content difference needs to be made. Namely, why is the Renaissance vision of reality multi-perspective and the Middle-Age vision of reality mono-perspective? The answer to this question needs to be given by the analysis of the original works of the Renaissance thinkers. Our undertaking will not be limited in analysing only one discourse but following the subject from a methodological point of view in a multi-perspectivism way. Therefore, three different discourses will be analysed:  The discourse of philosophical anthropology with Mirandola’s vision of man as a paradigmatic example-The discourse of philosophy of nature, with Bruno’s vision of the universe as a paradigmatic example-The discourse of art history in which four paintings will be analysed: these paintings can be considered of having philosophical, value because they provide a picturesque representation of what the Renaissance “world” was really like.

scholarly journals Tradition and historical reconstruction in modern Church art on the example of the “Apocalypse” by Nikolai Masteropulo (from the point of view of the Medievalist)

2021 ◽  
Vol 2 (3) ◽  
pp. 75-89
Author(s):  
Yu. N. Buzykina
Keyword(s):  
Art History ◽  
Scientific Literature ◽  
Wall Painting ◽  
Point Of View ◽  
Historical Reconstruction ◽  
13Th Century ◽  
Byzantine Art ◽  
15Th Century ◽  
The Subject ◽  
Church Art

The article deals with Apocalypse cycle of cloisonné enamels created in the early 2000-s by Russian and Greek artist Nilolaos Masteropoulos. The article analyses the concept of this creation, conceived as an actual art work made by medieval tool — ancient technique of cloisonné enamel, reconstructed and reconceived by the artist. The choice of the old technique which disappeared in byzantine tradition in 13th century is united with the subject which was not typical for byzantine art at all and appeared only in the early 15th century in the wall painting of Annunciation Cathedral of Moscow Kremlin, ordered by Russian prince and painted by Byzantine artist Theophanes the Greek. This union, demonstrating the artist’s deep knowledge in the art history and scientific literature, does not turn this Apocalypse into intellectual rebus or kind of historical reconstruction. Reviving ancient techniques and using ancient symbols, Nikolaos Masteropulos created an actual art work, intended for beholding by his contemporaries.

scholarly journals CHIRICO AND METAPHISICAL ART

2018 ◽  
Keyword(s):  
Art History ◽  
Point Of View ◽  
Inner World ◽  
The Subject ◽  
Spiritual Reality ◽  
De Chirico

Chirico's grandfather was an interpreter in the Ottoman palace and his father worked as an engineer in the construction of the Ottoman railways. Giorgio de Chirico is defined as the magician or witch of the mysterious dream world and supernatural spaces in art history. Their works, which usually begin with "Enigma", are the subject of ambiguity and enigma. Chirico is claimed to be an atheist, but mystical tendencies are seen in his paintings, and the works that atheism is associated with are rarely seen. Spiritual reality and metaphysical discoveries are Chirico's greatest interests. He painted his inner world quests and experiences that could not be expressed in words. The philosophical point of view, while impressed by the philosophy of Nietche and Schopenhauer, was also interested in Hindu and Buddhist beliefs. Chirico appears to have seriously affected Surrealists. The purpose of this work is to examine the thought and artistic structure of Chirico, including the mystical and metaphysical concepts, and the metaphysical artwork that he reveals in his works. As a method, the literature on Chirico's concept of thought and art will be scanned and the metaphysical forms and symbols revealed in his paintings will be examined. Keywords: Enigma, Mystery, Mysticism, Metaphysics

Generality and Identity in Late Medieval Discussions of the Prior Analytics

Vivarium ◽  
2010 ◽  
Vol 48 (1-2) ◽  
pp. 215-227
Author(s):  
Simo Knuuttila
Keyword(s):  
Point Of View ◽  
Late Medieval ◽  
Logical Subject ◽  
The Subject

AbstractIn this article, I shall consider medieval discussions of the principles of Aristotelian syllogistic which were called the dictum de omni et nullo and the expository syllogism. I am particularly interested in how theological questions contributed to the introduction of some influential new medieval ideas, such as the extensional sameness of the subject as the basis of predication, the interpretation of the expository syllogism from this point of view, and the explication of the logical subject of universal and particular syllogistic premises with the phrase ‘Anything/something which is A. . .’. I end with some remarks about the increasing medieval awareness that these developments were beyond Aristotle’s purview.

scholarly journals THE VISIBILITY OF THE TOY IN WESTERN PAINTING FROM RENAISSANCE TO THE MODERN ERA

2021 ◽  
Vol 9 (58) ◽  
Keyword(s):  
Art History ◽  
Free Space ◽  
Point Of View ◽  
Cultural Economic ◽  
15Th Century ◽  
Technological Advances ◽  
Consumption Culture ◽  
Adult World ◽  
The Subject ◽  
Modern Era

Although children are the first thing that comes to mind when it comes to games, we encounter with games in all areas of the life in the adult world. The toy, on the other hand, is the objective dimension of the game and takes place in our lives as an imitation of a real being or as simple objects attributed with meanings. Game opens a free space for the player besides the existing world. Toys as game objects are not only personal items in this free space, they also reflect the cultural, economic, political and technological state of their eras in every aspect. When we consider art as a reflection of the culture, the image of games and toys in the art history is more associated with children. The meanings attributed to toys were parallel with the perspective towards the children in every period. The toy as an object first appears in European painting in the 15th century. Along with humanism, the developing bourgeoisie, subsequent scientific and technological advances, family life and values given to children naturally changed the point of view on toys. The rapidly changing world with the wars in the 20th century turned the toy into a mass-produced industrial product, which encouraged consumption culture. Thus, the toys detached from their original context and started serving as an intermediary in the transformation and the manipulation of societies in the hands of the cultural industry, social and political propaganda and capitalism. In this context, the toy object that is the subject of painting is a document witnessing the history. The aim of this study is to examine the visibility of the toy, which is the subject of European painting from the Renaissance to the modern period, in the history and to discuss the effect of cultural differences related to time and space on the toys through art. Keywords : Game, toy, children, culture, art

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