Une figure sculptée de saint Aré conservée au Bayerisches Nationalmuseum de Munich : Michel Colombe et la sculpture tourangelle hors les murs ?*

2021 ◽  
Vol 84 (3) ◽  
pp. 365-378
Author(s):  
Jean-Marie Guillouët
Keyword(s):  
Sixth Century ◽  
Stylistic Analysis ◽  
Small Boat ◽  
Contemporary Sculpture ◽  
The Village ◽  
The Church

Abstract In the rooms of the Bayerisches Nationalmuseum in Munich, the astonishing sculpture of Saint Are stands out. The sixth-century bishop of Nevers is depicted lying dead on the bottom of the small boat that miraculously sailed up the Loire as far as the village of Decize. It is for the church of this locality that this sculpture was made, probably after depredations committed to the treasure of the sanctuary in 1484. A stylistic analysis reveals the close links of this work with contemporary sculpture in Touraine, particularly with the anonymous figure of a bishop now kept in Saint-Saturnin at Limeray (Indre-et- Loire). The same hand of an artist who seems to have worked in the entourage of Michel Colombe must be recognized in both works. The documented presence of the great sculptor in Moulins in 1484 further supports this presumption.

Ṭur ʿAbdin

2021 ◽  
pp. 153-223
Author(s):  
Elif Keser Kayaalp
Keyword(s):  
Eighth Century ◽  
Sixth Century ◽  
Church Architecture ◽  
Late Antique ◽  
Small Churches ◽  
Architectural Features ◽  
Architectural Sculpture ◽  
Distinct Features ◽  
The Village ◽  
The Church

The introduction of the chapter analyses the topography of Ṭur ʿAbdin through comparisons and settlement relations. The material about church architecture is organized under the separate headings of ‘Villages’ and ‘Monasteries’, which constitute the main settlements in the region, together with some fortifications. The division of settlements into villages and monasteries also coincides with two distinct types of church plans: parish and monastic. In the section on villages, the main settlement features of a late antique village are discussed. After that, the village churches are examined through some of their distinct features, such as engaged arcades, masonry, brickwork, architectural sculpture, and outdoor oratories. The analysis shows that some of these churches underwent considerable rebuilding in the eighth century. Some sixth-century evidence points to their possible origins. Some small churches, built probably from scratch in the eighth century, show that in that period some architectural features were repeated faithfully. Monasteries are first examined as settlements, and spaces that constitute a monastery, other than the churches, such as walls, towers and beth qadishe, are discussed. Then both the main and secondary churches are examined in detail. Some churches of the monasteries stand out for their plan or decoration, such as the church of Mor Ḥananyo at Dayr al-Zaʿfarān and the main church of the monastery of Mor Gabriel. They are dealt with under separate headings. Although not a monastic church, the Church of Yoldath Aloho at Ḥāḥ is treated together with these churches because of some of its architectural features.

Historic Churches of New Mexico Today

2019 ◽  
Author(s):  
Frank Graziano
Keyword(s):  
New Mexico ◽  
San Francisco ◽  
San Jose ◽  
Pueblo Indians ◽  
New Mexican ◽  
Cultural Legacy ◽  
Attachment To Place ◽  
The Village ◽  
The Church ◽  
Previous Scholarship

Historic Churches of New Mexico Today is an interpretive ethnography based on fieldwork among hispanic villagers, Pueblo Indians, and Mescalero Apaches. The fieldwork was reinforced by extensive research in archives and in previous scholarship. The book presents scholarly interpretations in prose that is accessible, often narrative, at times lyrical, and crafted to convey the experience of researching in New Mexican villages. Descriptive guide information and directions to remote historic churches are provided. Themes treated in the book include the interactions of past and present, the decline of traditions, a sense of place and attachment to place, the church as a cultural legacy, the church in relation to native traditions, resistance to Catholicism, tensions between priests and congregations, maintenance and restoration of historic buildings, and, in general, how the church as a place and devotion as a practice are important (or not) to the identities and everyday lives of individuals and communities. Among many others, the historic churches discussed in the study include the Santuario de Chimayó, San José de Gracia in Las Trampas, San Francisco de Asís in Ranchos de Taos, the village churches of Mora County, St. Joseph Apache Mission in Mescalero, and the mission churches at Laguna, Acoma, and Picurís Pueblos.

An Anatolian-Persian tomb relief from Gökçeler in Lydia

2018 ◽  
Vol 68 ◽  
pp. 119-130
Author(s):  
Figen Çevirici-Coşkun
Keyword(s):  
Northern Region ◽  
Fifth Century ◽  
Sixth Century ◽  
African Origin ◽  
Persian Period ◽  
Funerary Reliefs ◽  
Short Spiral ◽  
The Village

AbstractThe relief block at the centre of this study was found in 2004 in a ploughed field in the northern region of Lydia near the village of Gökçeler in the district of Akhisar, in what is today the Manisa province. A standing male figure is depicted on the block, which probably belonged to a chamber tomb. Holding a cock and a bud in his hands, stylistically the figure points to a date between the late sixth century BC and the early fifth century BC. He has short, spiral curls and wears a long-sleeved, tight-fitting garment that appears to be influenced by the Persian style. Within the scope of Anatolian-Persian funerary reliefs, this example is particularly significant due to its typological and iconographical elements. Specifically, following comparisons with other works of the Persian period, it is possible to suggest that the figure on the Gökçeler relief is an African who is offering a gift to the tomb owner; the latter may have been Persian or have served a Persian. Thus, this relief has particular significance since it is the only known work of Anatolian-Persian sculpture which indicates that individuals of African origin lived in the Anatolian region under Persian rule.

Roman Senators in Cappadocia

1964 ◽  
Vol 14 ◽  
pp. 163-168 ◽  
Author(s):  
R. P. Harper
Keyword(s):  
White Marble ◽  
The Village ◽  
The Church

An inscription at Comana Cappadociae (Şar köyü, Mağara, Adana), hitherto unpublished, provides the evidence for this note (Pl. XLIIa, Fig. 1). The stone is now in the yard of the school at Şar. It is a white marble slab, 0.90 × 0.40 m., recut below and at the lower right corner. The building which now houses the school was a church when the village was inhabited by Armenians and seems to have been built by them entirely out of ancient materials. This stone is said to have formed the door-sill of the church and to have been taken out when the position of the door was changed recently. Lines 4 and 5 certainly appear to have been worn by the passage of feet.

The Temple Holiday Prokopy Day in Bolshelug Village of the Komi Republic Over Time (Based on Records of the Beginning of the 21st Century)

2021 ◽  
pp. 134-144
Author(s):  
Алексей Николаевич Рассыхаев
Keyword(s):  
21St Century ◽  
Komi Republic ◽  
Reliable Information ◽  
The Village ◽  
The Temple ◽  
The Church ◽  
Over Time ◽  
Ritual Practices ◽  
Oral Stories

В работе на основе полевых материалов начала XXI в. дана характеристика особенностей восприятия храмового праздника - Прокопьева дня (21 июля) в с. Большелуг Республики Коми. В устных рассказах информантов 1920-1960-х гг. наблюдается вариативность в его праздновании. Разнообразятся высказывания относительно количества дней празднования храмового праздника (от двух до четырех), даты начала и конца (от 19 до 24 июля), а также очередности гостевания в селе и ближайших деревнях. В условиях отсутствия достоверной информации о практике празднования Прокопьева дня, сложившейся в селе до 1930-х гг., происходит попытка «приватизировать» престольный праздник и начинают функционировать фольклорные рассказы о некогда обычной практике. Став главным общесельским праздником, Прокопьев день начинает притягивать различные ритуальные практики и обычаи (приметы, запреты и предписания). Данная ситуация развивается на фоне того, что в Большелуге церковь освящена во имя Свт. Николая, чудотворца и архиепископа Мир Ликийских, однако Николин день фольклорной традицией остается практически незамеченным. This paper is based on field materials from the beginning of the 21st century and describes the peculiarities of perception of the temple holiday (khramovoi or prestol’nyi prazdnik) - Prokopy Day (July 21) in the village of Bolshelug in the Komi Republic. Compared to oral stories of the 1920s and 1960s, there are variations in its later celebration. Various statements are made regarding the number of days the holiday is celebrated (from July 19 to 24), as well as the order of visiting in the village and in nearby villages. In the absence of reliable information about the practice of celebrating Prokopy Day which had been established in the village by the 1930s, attempts were made to “privatize” the feast day and to put into practice folkloric descriptions of the once common ritual. Having become the main village holiday, Prokopy Day also began to incorporate various new ritual practices and customs (omens, prohibitions and prescriptions). This process developed against the background of the fact that in Bolshelug the church was consecrated to St. Nicholas the Wonderworker and Archbishop of Myra, although St. Nicholas Day folklore has remained mostly overlooked.

Remembering Pope Gregory VII: Cardinal Boso and Alexander III

2013 ◽  
Vol 49 ◽  
pp. 87-98
Author(s):  
John Doran
Keyword(s):  
Twelfth Century ◽  
Canon Law ◽  
Sixth Century ◽  
Gregory The Great ◽  
Christian Thought ◽  
Near Future ◽  
The Church

In the conclusion to his masterly biography of Pope Gregory VII (1073–85), H. E. John Cowdrey notes the paradox that the pope so lionized by modern historians, to the extent that the age of reform bears his name, was largely forgotten in the twelfth century and made little impact on Christian thought, spirituality or canon law. Cowdrey is not alone in his observation that Gregory ‘receded from memory with remarkable speed and completeness’; when he was remembered, it was as a failure and as one who brought decline upon the church. For Cowdrey, the answer to this conundrum lay in the fact that Gregory VII was in fact far closer to the ideals of the sixth century than of the twelfth; he was a Benedictine monk and shared the worldview and oudook of Gregory the Great (590–604) rather than those of the so-called lawyer popes Alexander III (1159–81) and Innocent III (1198–1216). Yet within a century of Gregory’s death he was presented by Cardinal Boso as a model pope, who had overcome a schismatic emperor and the problems which his interference had precipitated in Rome. For Boso, writing for the instruction of the officials of the papal chamber, the very policies set out by Gregory VII were to be pursued and emulated. Far from being a peripheral and contradictory figure, with more in common with the distant past than the near future, Gregory was the perfect guide to the beleaguered Pope Alexander III, who was also struggling against a hostile emperor and his antipope.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 227
Author(s):  
Damir Tulić ◽  
Mario Pintarić
Keyword(s):  
Small Town ◽  
18Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Church ◽  
Made In

In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

scholarly journals The Archaeological Evidence of St. Clement of Ohrid’s Activities in the Ohrid Region

Slovene ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 136-178
Author(s):  
Pasko Kuzman
Keyword(s):  
Lake Area ◽  
Archaeological Evidence ◽  
The North ◽  
The Village ◽  
North And South ◽  
The Church ◽  
Archaeological Excavations

Among the activities of St. Clement of Ohrid was the construction of the church and monastery in Ohrid, which was carried out at the end of the 9th century at the location where some Byzantine basilicas had stood previously. As findings of archaeological excavations have shown, St. Clement first built a small triconch church at the location of the ruined basilica. This triconchos was later expanded by the addition of a capacious “pronaos” in inscribed-cross form, where St. Clement was interred. This “pronaos” was characterized by entrances on the north and south sides that were identical to those of the inscribed-cross church that existed near the village of Velcë along the Šušica River (in southern Albania) at the turn of the 9th‒10th century. During the tenure of Archbishop Dmitrios Chomatianos (1216–1236), the “pronaos” was replaced with a new church into which the relics of St. Clement were placed. In the Ottoman period, the Church and Monastery of St. Clement were disassembled to build a mosque. At the very beginning of the 10th century, the triconchal church in the Monastery of St. Clement served as a model for the church in the Monastery of St. Naum, in the southern part of the Ohrid lake area. The groundwork(s) of a further church in a triconchal shape, whose construction can be traced back to the time of St. Clement, has also been discovered at Gorica, near Ohrid. Ruins of yet another triconchal church which also belongs to the period under review can be found near the village of Zlesti, in the Dolna Debarca region, not far from Ohrid. In the vicinity of the village of Izdeglavje, in the Gorna Debarca region, there is also a church whose establishment is related to the activity of St. Clement of Ohrid as well.

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