scholarly journals Material Images and Mental Ziyāra: Depicting the Prophet’s Grave in North African Devotional Books (Dalāʾil al-Khayrāt)

2021 ◽  
Vol 1 (1-2) ◽  
pp. 331-354
Author(s):  
Hiba Abid
Keyword(s):  
Fifteenth Century ◽  
Art History ◽  
Sacred Space ◽  
Careful Examination ◽  
North African ◽  
Loved One ◽  
Religious Text ◽  
Popular Book ◽  
The Subject ◽  
Unpublished Manuscripts

Abstract The Dalāʾil al-Khayrāt (Guidelines to the Blessings) is a very popular book of prayers over the Prophet Muḥammad, originally written around the mid-fifteenth century by Muḥammad b. Sulaymān al-Jazūlī (d. 869/1465). The Dalāʾil is probably the only illustrated religious text in the Maghreb, where the image has been the subject of more profound reluctance than in the rest of the Muslim world. They show the sacred tomb of the Prophet inside the mosque of Medina, as well as his minbar, his miḥrāb and his sandals (naʿl), one of the most venerated relics in Islam. If the images in North African books have been systematically interpreted in a superficial way, this article proposes a reading at the crossroads of art history, codicology and a careful examination of the main text and the precious annotations added by the readers of some unpublished manuscripts. We will then understand that these illustrations have gradually acquired an autonomous place within the book. They act alongside the text, as memorial images of the sacred space hosting the holy body of the Prophet, and as a virtual substitute for the pilgrimage to Medina. It is in fact through this act, be it physical or virtual, that Muslims hope to visualize, in a dream, the figure of their loved one, Muḥammad.

De ontdekking van de Hollandse primitieven

1998 ◽  
Vol 112 (2-3) ◽  
pp. 169-186 ◽  
Author(s):  
Edward Grasman
Keyword(s):  
The Netherlands ◽  
Fifteenth Century ◽  
Art History ◽  
Low Countries ◽  
Historical Argument ◽  
Art Historians ◽  
The Subject ◽  
The Difference

AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.

scholarly journals XIV. On the absorption of gases by solids

1881 ◽  
Vol 32 (212-215) ◽  
pp. 407-408
Keyword(s):  
Royal Society ◽  
Hydraulic Press ◽  
Careful Examination ◽  
Solid Matter ◽  
Chemical Action ◽  
High Pressure And Temperature ◽  
Solid Iron ◽  
Series Of Experiments ◽  
The Subject ◽  
Very High

During the progress of the investigations which I have from time to time had the honour of bringing under the notice of the Royal Society, I have again and again noticed the apparent disappearance of gases inclosed in vessels of various materials when the disappearance could not be accounted for upon the assumption of ordinary leakage. After a careful examination of the subject I found that the solids absorbed or dissolved the gases, giving rise to a striking example of the fixation of a gas in a solid without chemical action. In carrying out that most troublesome investigation, the crystalline separation of carbon from its compounds, the tubes used for experiment have been in nine cases out of ten found to be empty on opening them, and in most cases a careful testing by hydraulic press showed no leakage. The gases seemed to go through the solid iron, although it was 2 inches thick. A series of experiments with various linings were tried. The tube was electro-plated with copper, silver, and gold, but with no greater success. Siliceous linings were tried fusible enamels and glass—but still the' tubes refused to hold the contents. Out of thirty-four experiments made since my last results were published, only four contained any liquid or condensed gaseous matter after the furnacing. I became convinced that the solid matter at the very high pressure and temperature used must be pervious to gases.

Seven Sacraments Compositions in English Medieval Art

1929 ◽  
Vol 9 (2) ◽  
pp. 83-100 ◽  
Author(s):  
G. McN. Rushforth
Keyword(s):  
Fifteenth Century ◽  
Old Testament ◽  
Religious Art ◽  
Medieval Art ◽  
Christian Art ◽  
The Subject ◽  
Great Tradition ◽  
Speculum Humanae Salvationis ◽  
Church Art ◽  
The Church

Émile Mâle says that medieval Christian art in its last period had lost touch with the great tradition of symbolism which had been so important in the twelfth and thirteenth centuries, and still largely dominated the art of the fourteenth. But there was one great symbolical idea which survived, and that was the harmony of the Old and New Testaments; and so we find among the most popular subjects of fifteenth-century Church art the concordance of the Apostles and Prophets in the Creed, and the series of parallels between the life of Jesus and episodes of Old Testament history, which were summed up and digested in the Biblia Pauperum and the Speculum Humanae Salvationis. The reason for the popularity of these subjects was, no doubt, their didactic value, and though Mâle does not develop this side of the subject, we may say that one, though not the only, characteristic of the religious art of the fifteenth century was that, instead of being symbolical, it became didactic. We find in this period a whole series of subjects which reduced the articles of Christian faith and practice to pictorial form, and seem to have been intended to illustrate the medieval catechism by which the teaching of the Church was imparted.

Divine and Demonic Imagery at Tor de'Specchi, 1400-1500

2018 ◽  
Author(s):  
Suzanne Scanlan
Keyword(s):  
Fifteenth Century ◽  
Gender Studies ◽  
Art History ◽  
Religious Women ◽  
And Gender ◽  
Corporeal Nature

In the fifteenth century, the Oblates of Santa Francesca Romana, a fledgling community of religious women in Rome, commissioned an impressive array of artwork for their newly acquired living quarters, the Tor de'Specchi. The imagery focused overwhelmingly on the sensual, corporeal nature of contemporary spirituality, populating the walls of the monastery with a highly naturalistic assortment of earthly, divine, and demonic figures. This book draws on art history, anthropology, and gender studies to explore the disciplinary and didactic role of the images, as well as their relationship to important papal projects at the Vatican.

Untranslatable: Gottfried Kinkel, Kulturgeschichte, and British Art Historiography

2021 ◽  
Vol 84 (2) ◽  
pp. 248-268
Author(s):  
Hans Christian Hönes
Keyword(s):  
Art History ◽  
Karl Marx ◽  
Academic Discipline ◽  
Close Friend ◽  
Historical Approach ◽  
British Art ◽  
Successful Attempt ◽  
German Art ◽  
The Subject ◽  
1848 Revolution

Abstract In 1934, Edgar Wind claimed there was no English equivalent for the word “kulturwissenschaftlich” and the method it denoted: it was untranslatable. Although German art history had been widely read in England since Victorian times, certain methods, as well as the discipline itself, were only hesitantly received. This article focuses on a decisive moment in this entangled history—an attempt to establish in Britain both art history as an academic discipline and a cultural-historical approach to the subject. The key figure is the dashing art historian Gottfried Kinkel, a close friend of Jacob Burckhardt (and archenemy of Karl Marx), who fled Germany after the 1848 revolution. In 1853, he gave the firstever university lecture in art history in England, the manuscripts of which were recently discovered. Kinkel’s case is a prime example of both a socio-historical approach to art history in Victorian times and an exile’s only partially successful attempt to transmit his methodology to a new audience.

PECULIARITIES OF LIGHT FUNCTIONING IN MODERN GREEK CATHOLIC CHURCHES OF UKRAINE

2021 ◽  
Vol 7 (2) ◽  
pp. 253-260
Author(s):  
Yatsiv M ◽  
Keyword(s):  
Sacred Space ◽  
Light Environment ◽  
Historical Period ◽  
Religious Ritual ◽  
Modern Greek ◽  
The Subject ◽  
Similarities And Differences ◽  
Lighting Systems ◽  
Catholic Churches ◽  
The Temple

In each historical period, light played an important mystical role in the creation of the sacred space of the temple, and was and is an integral part of religious ritual. Light is an architectural phenomenon, the formative and communicative element of the spatial structure of the temple, the most important factor in the perception of space and layout of the temple. The subject of the analysis contained in the article is the light environment in the space of modern churches of Ukraine. An analysis of the functions of light in churches is made on the example of recently built iconic Greek Catholic temples. The peculiarities of the distribution of natural and artificial light in the space of modern churches, the similarities and differences in the organization of the light environment, as compared to the historical temples, have been revealed. The influence of the light on the architectonics of temples and the visual perception of their object environment, on the formation of the corresponding mystical mood and sacred atmosphere is defined. The values and functions of electric lighting in the structure of the light environment of the temple, the directions of development of electric lighting systems due to the expansion of their utilitarian and decorative functions are determined.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

scholarly journals An Investigative Look at Healthcare Beliefs and Practices During the Sen Dynasty

2013 ◽  
Vol 6 ◽  
pp. 61-74
Author(s):  
Dave Beine
Keyword(s):  
Fifteenth Century ◽  
Historical Period ◽  
Beliefs And Practices ◽  
Dark Ages ◽  
The Subject ◽  
Late Fifteenth ◽  
Do So

There is not much known about Nepal during the historical period sometimes referred to as Nepal’s dark ages (750-1750 C.E.). And even less is known about the healthcare practices of the Sen Dynasty of Palpa, Nepal, which found its inception over 500 years ago, during the late fifteenth century. For this reason, anyone endeavoring to intelligently write on the subject must, much like an archaeologist, use a bit of educated conjecture to piece together a speculative, but historically plausible, picture of the healing practices likely employed during that period. In order to do so, this paper examines several pieces of evidence, both historic and contemporary, in order to infer what the healthcare practices of the populace of Palpa might have looked like at that time. DOI: http://dx.doi.org/10.3126/dsaj.v6i0.8479 Dhaulagiri Journal of Sociology and Anthropology Vol. 6, 2012 61-74

The Grammar of Subjectivity

2020 ◽  
pp. 59-65
Author(s):  
Jonardon Ganeri
Keyword(s):  
Logical Form ◽  
Conscious State ◽  
Careful Examination ◽  
Human Being ◽  
Phenomenological Interpretation ◽  
The Subject ◽  
The One ◽  
Affected Subject

There is a commonly agreed way to articulate the logical form of a conscious state: it a state such that there is something it is like for a subject to be in it. This formula has the important virtue that it enables us to separate out two distinct aspects in the phenomenology of an experience: what is experienced, the ‘quality’ of the experience; and how it is experienced, that it is experienced as being for-a-subject. A careful examination of the syntax of the ‘what it’s like …’ construction reveals that the colloquial phrase ‘subject of experience’ is polysemic. On the one hand it might mean the subject in whom the experience is occurring. Let me call this the ‘locative of manifestation’. This host self, an inhabited self, is more commonly identified with the physical human being, or the human being’s brain or neuropsychological state, but Pessoa gives instead a phenomenological interpretation of the notion. The phrase might also mean the subject affected by the experience. The affected subject is the one to whom the experience is addressed, so I will call this the ‘accusative of manifestation’. The accusative of manifestation is, evidently, conceptually distinct from the locative of manifestation. Finally, the phrase might mean the subject who is undergoing the experience, the one who lives through the experience, the ‘dative of manifestation.’

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