La miniatura come documento storico: le celebrazioni di Saptasvarupa Annakutotsava al Tempio di Śrī Nāthjī a Nathdwara nel 1822

2017 ◽  
Vol 77 (1-2) ◽  
pp. 215-232
Author(s):  
Isabella Nardi
Keyword(s):  
Comparative Analysis ◽  
Final Part ◽  
Secondary Literature ◽  
Miniature Painting ◽  
History Of ◽  
The Temple

This article highlights the importance of a prominent festival, the Saptasvarupa Annakutotsava celebrated in Nathdwara in 1822, through an iconographic analysis of a miniature painting dated to 1822–1850 in thelacmacollection. First, the essay delimits the area of investigation by briefly introducing the sect of Puṣṭi Mārg, its icons orsvarūps, and the installation of its most important deity, Śrī Nāthjī, at Nathdwara in 1672. Secondly, it analyzes the festival of 1822 as depicted in the painting. The final part of the study underlines the significance of the celebrations in the history of the sect by contextualizing the event with information drawn from secondary literature: it introduces some well-documented issues, such as the absence of thesvarūpof Bālkṛṣṇajī in the celebrations; it mentions some of the problems that Dauji, the head priest of the temple, had to overcome in the coordination of the festival, such as settling the disputes among thegosvāmīs of the sect; and it concludes with a comparative analysis of the Saptasvarupa Annakutotsava with two similar festivals held in Nathdwara in 1739–1740 and 1966 to emphasize the preeminence of the event of 1822 in the history of Puṣṭi Mārg.

Marble relief ‘Nero and Armenia’ from the Sebasteion at aPhrodisias in Caria (Asia Minor)

Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 185-206
Author(s):  
Hasmik Z. Markaryan
Keyword(s):  
Comparative Analysis ◽  
Historical Study ◽  
Asia Minor ◽  
Stylistic Analysis ◽  
Temple Complex ◽  
History Of ◽  
Imperial Art ◽  
The Temple

The article is devoted to an artistic and historical study of a marble relief with a symbolic scene of Nero’s victory over Armenia from the Sebasteion sanctuary complex in the ancient town of Aphrodisias in Asia Minor. The temple complex was dedicated to the cult of the Julio-Claudian imperial dynasty. The artistic and stylistic analysis of the relief was performed in the context of the sculptural program and decoration of the whole complex, and took into consideration other images of Nero in the Sebasteion. Through a comparative analysis of the figure personifying Armenia depicted on the marble relief in Aphrodisias, as well as a series of images on coins and small statuary samples, characteristic iconographic traits of Armenia in the Roman imperial art were revealed. Along with this, the paper presents an in-depth ‘reading’ of this scene within the context of specific epi- sodes from the history of the Parthian-Roman conflict and the Roman struggle for Armenia during the period of 54–68 AD.

Conclusions and the Legacy of the Jalayirids

2016 ◽  
Author(s):  
Patrick Wing
Keyword(s):  
Book Illustration ◽  
Secondary Literature ◽  
Miniature Painting ◽  
History Of

This chapter provides an overview of the history of Jalayirid patronage of miniature painting and book illustration. The question of a “Jalayirid school” of painting is most persistent legacy of the Jalayirids in secondary literature, and is taken up here. The chapter ends with a general summary of the book’s main arguments.

Apocrypha from the History of the Jewish Military Union and its Authors

2008 ◽  
pp. 147-176
Author(s):  
Dariusz Libionka
Keyword(s):  
Comparative Analysis ◽  
Critical Analysis ◽  
Communist Regime ◽  
Research Approach ◽  
Warsaw Ghetto ◽  
History Of

This article is an attempt at a critical analysis of the history of the Jewish Fighting Union (JFU) and a presentation of their authors based on documents kept in the archives of the Institute of National Remembrance in Warsaw. The author believes that an uncritical approach and such a treatment of these materials, which were generated under the communist regime and used for political purposes resulted in a perverted and lasting picture of the history of this fighting organisation of Zionists-revisionists both in Poland and Israel. The author has focused on a deconsturction of the most important and best known “testimonies regarding the Warsaw Ghetto Uprising”, the development and JFU participation in this struggle, given by Henryk Iwaƒski, WΠadysΠaw Zajdler, Tadeusz Bednarczyk and Janusz Ketling–Szemley.A comparative analysis of these materials, supplemented by important details of their war-time and postwar biographies, leaves no doubt as to the fact that they should not be analysed in terms of their historical credibility and leads one to conclude that a profound revision of research approach to JFU history is necessary.

THE TIMURID PERIOD FROM THE HISTORY OF THE FINE ARTS

2019 ◽  
Vol 19 (2) ◽  
pp. 28-33
Author(s):  
Ulug'bek Kuryazov ◽  
Keyword(s):  
Comparative Analysis ◽  
Fine Arts ◽  
The World ◽  
History Of

The article examines the works of scholars in the study of the history of fine arts, in particular miniatures of the Amir Temur era and temurids. Special attention is paid to the history of the creativity of Mirak Nakkosh and the outstanding miniaturist Kamoliddin Behzod. A comparative analysis of several miniature works is given. As well as analyzed some miniatures stored in the collections of museums and libraries of the world

Selfi es

2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert
Keyword(s):  
Present Article ◽  
Digital Communication ◽  
Role Expectations ◽  
Digital Culture ◽  
Final Part ◽  
Human Face ◽  
History Of ◽  
The Media ◽  
Front Stage

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

Historical Representations and Recent Changes

2018 ◽  
Author(s):  
Jürgen Schaflechner
Keyword(s):  
Comparative Analysis ◽  
South Asia ◽  
Oral Histories ◽  
Detailed History ◽  
Modern Times ◽  
History Of ◽  
Historical Representations ◽  
The Rich ◽  
Many Sources ◽  
Over Time

Chapter 3 introduces the tradition of ritual journeys and sacred geographies in South Asia, then hones in on a detailed history of the grueling and elaborate pilgrimage attached to the shrine of Hinglaj. Before the construction of the Makran Coastal Highway the journey to the Goddess’s remote abode in the desert of Balochistan frequently presented a lethally dangerous undertaking for her devotees, the hardships of which have been described by many sources in Bengali, Gujarati, Hindi, Sindhi, and Urdu. This chapter draws heavily from original sources, including travelogues and novels, which are supplanted with local oral histories in order to weave a historical tapestry that displays the rich array of practices and beliefs surrounding the pilgrimage and how they have changed over time. The comparative analysis demonstrates how certain motifs, such as austerity (Skt. tapasyā), remain important themes within the whole Hinglaj genre even in modern times while others have been lost in the contemporary era.

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