scholarly journals Two Greek Reliefs

1890 ◽  
Vol 11 ◽  
pp. 284-285
Author(s):  
G. C. Richards
Keyword(s):  
Left Shoulder ◽  
Female Figure ◽  
Central Figure ◽  
Ancient Athens ◽  
Usual Manner ◽  
Female Figures ◽  
Full Face

In the bas-relief room of the Naples Museum is a well-known relief of Hellenic workmanship from Herculaneum, the importance of which has often been pointed out in connection with the art-type of three female figures, variously taken to represent the Charites, the Nymphs, the three goddesses or the daughters of Kekrops, according to the company in which they are found. Inside a plain shrine represented by two antae supporting an architrave, above which are seven knobs indicating the anthemia of the roof-ridges, are seven female figures hand in hand, six of them of the same size and the last smaller. The first three, two of whom are looking to the left, wear over a long chiton a himation wrapped over the left shoulder in the usual manner, and remind one somewhat of the Pyrrichist base in the Acropolis Museum; the second trio are simply clad in Doric girdled chiton, two of these also looking to the left: the seventh is a small similarly clad female figure seen full face. It is noticeable that the central figure is absolutely full face and that those at the two ends have their faces slightly turned towards the centre, a device for securing the symmetry of the group. The connection of this work with the archaic coloured relief, lately discovered on the Acropolis and published by M. Lechat in the Bulletin de Correspondance Hellénique for 1889, in which Hermes piping precedes the three Graces who follow hand in hand to the left, their faces seen full, and lead after them a small similarly dressed figure, has been pointed out most recently by Miss Harrison in her Mythology and Monuments of Ancient Athens; but the interesting names inscribed below the Naples relief (C. I. G. iv. 6854e) seem to have been disregarded. Either they are a forgery, in which case the fact should certainly be established; or, if genuine, they seem to confirm the identification of the Acropolis group with the Charites and to supply an interesting clue to this mysterious small figure. Under the first trio are the names given to the Graces in later times, ΕΥΦΡΟΣΥΝΗ ΑΓΛΑΙΗ ⊙ΑΛΙΗ. The next three bear the apparent fancy names of ΙΣΜΗΝΗ ΚΥΚΑΙΣ ΕΡΑΝΝΩ.

Butler, Reginald Cotterell [Reg] (1913–1981)

2018 ◽  
Author(s):  
Kitty Hudson
Keyword(s):  
Contemporary Art ◽  
Subject Matter ◽  
Political Prisoner ◽  
Female Figure ◽  
Central Figure ◽  
Freudian Theory ◽  
Prehistoric Art ◽  
Festival Of Britain ◽  
Female Figures ◽  
Post War

A central figure among the post-war sculptors who came to prominence at the 1952 Venice Biennal, Reg Butler is best known for winning the Institute of Contemporary Art (ICA) competition to design a monument to The Unknown Political Prisoner in 1953, although the design was never fully realized as a sculpture. Butler initially trained as an architect, but started to achieve success and publicity as a sculptor with his first solo exhibition at the Hanover Gallery in 1949. His aesthetic influences were varied: from Freudian theory and Surrealism, to African and prehistoric art, as well as contemporary classicism and the post-war "art of trauma". He went on to take part in the Festival of Britain in 1951 and, in the same year, began teaching at the Slade, where he eventually became the Director of Sculpture Studies in 1966. Though his technique developed from welding to model\ling and casting in bronze, his subject matter never strayed far from the female figure. From the late 1960s until his death in 1981, Butler produced increasingly distorted and overtly sexualized female figures in painted bronze, distancing himself from his more abstract modernist contemporaries.

Dai ladini ai Walser : elementi di continuità e distorsione della figura femminile nei miti alpini

Ladinia ◽  
2021 ◽  
Vol 45 ◽  
pp. 95-160
Author(s):  
Clara Mazzi
Keyword(s):  
Comparative Study ◽  
Female Figure ◽  
Female Figures ◽  
The Alps

This article is a comparative study, in which a certain type of female figure from the Ladin mythology, the gana and Donna Chenina, is analysed and compared with similar figures found in other productions spread over the Alps, in order to verify whether they are all referable to one specific ancient figure from which all the others have descended with slight variations. The study confirms the hypothesis of a Celtic substratum to which it is possible to refer and which has formed ganes, dialas and fairies, according to where they can be found across the Alps. This is supported by the fact that these female figures have different names but their essential characteristics are constant, very precise and refer, most likely, to very ancient divinities, worshipped at a time when Europe was still an Indo-Europe-an group, had become familiar with agriculture and was probably populated by matrilineal societies.

scholarly journals X—Notes on some Paper Casts of Cuneiform Inscriptions upon the sculptured Rock at Behistun exhibited to the Society of Antiquaries. By Lieut.-Col. H. Rawlinson, C.B., F.R.S., and D.C.L.

Archaeologia ◽  
1851 ◽  
Vol 34 (1) ◽  
pp. 73-76 ◽  
Author(s):  
H. Rawlinson
Keyword(s):  
Side Wall ◽  
Fourth Century ◽  
Natural Object ◽  
Female Figure ◽  
Historical Inscriptions ◽  
Full Face ◽  
The Masses ◽  
The City ◽  
High Road

The small paper Casts which are lying on the table are impressions of the epigraphs that are attached to the line of captive figures sculptured on the great triumphal Tablet of Behistun; and the two large sheets which are suspended against the side wall of the room are from the same locality. This rock of Behistun is a very remarkable natural object on the high road between Ecbatana and Babylon. It was probably in the very earliest times invested with a holy character; for the Greek physician, Ctesias, who must have visited this spot in the fourth century before Christ, ascribes the most remarkable of the antiquities that were to be found there to the Assyrian queen Semiramis; and Isidore of Charax confirms this tradition of the country in his notice of the column and figure of Semiramis, at the city of Baptana, in the district of Cambadene. Now I believe Semiramis to have been altogether a mythic personage. In the historical inscriptions of Nineveh there is no trace either of Ninus or Semiramis; but both the names are probably to be recognised in the Pantheon. A very remarkable bas-relief at Behistun, which contains the full face of a colossal female figure, and which is evidently far more ancient than the tablet of Darius Hystaspes, represents, I think, the object mentioned by Isidore; and in front of the bas-relief are the remains, now barely distinguishable from the masses of rock by which they are surrounded, of the enormous pillar which stood contiguous to the shrine of the goddess, and which was doubtless an object of worship.

scholarly journals La figure féminine chez Arne Dybfest

Nordlit ◽  
2012 ◽  
Vol 15 (2) ◽  
pp. 211
Author(s):  
Guri Ellen Barstad
Keyword(s):  
Young Men ◽  
The Novel ◽  
Case Scenario ◽  
Worst Case ◽  
Central Figure ◽  
Worst Case Scenario ◽  
Female Figures

Arne Dybfest (1862-1892) is a Norwegian author whose female figures seem to have all the usual characteristics of the decadent woman. They are erotic, calculating and dangerous creatures entangling men in their snares and ruining their lives. They are morally, socially and aesthetically transgressive. At the same time, they remind us of the "huldra", a central figure in Scandinavian folklore. This beautiful and dangerous creature lives in the forest; her specialty is to seduce and bewitch young men and - worst-case scenario - bring them with her inside the mountain where she dwells.Dybfest's women are ugly, frightening and yet irresistibly attractive. Torn between aversion and blind admiration the male protagonist seems most of the time detached from reality, becoming a stranger to himself. Gradually he turns into two different persons. In the novel Ira (1891) the young man is liberated thanks to a young woman's rescuing love. Zita, a symbol of exuberant life, frees him from Ira's fatal grip.But is this salvation story entirely unambiguous? This article focuses not only on the differences between the two women but also on their similarities. A more nuanced view might complicate the picture and blur some distinctions.

scholarly journals Formation of Female Deity Archetype in Arts and Crafts of Ukraine

ART Space ◽  
2018 ◽  
pp. 90-92
Author(s):  
Olha Konovalova
Keyword(s):  
Religious Beliefs ◽  
Arts And Crafts ◽  
Female Figure ◽  
Female Figures

The article investigates the origins and analyses the semantics of the sacred female figure of a womangoddess in the context of arts and crafts of archaic cultures in Ukraine. The connection between the religious beliefs and images of stylized female figures on the pottery of the Cucuteni-Trypillian culture and in the toreutics of Scythia.

Introduction

2020 ◽  
pp. 1-18
Author(s):  
Celene Ibrahim
Keyword(s):  
Family Members ◽  
Female Figure ◽  
Stylistic Elements ◽  
The Family ◽  
Female Figures ◽  
Comprehensive Listing

The book’s introduction provides a comprehensive listing of female figures in the Qur’an. This includes references to the family members of Qur’anic prophets—figures who feature as mothers, wives, daughters, and extended female kin. It situates each Qur’anic female figure vis-à-vis other figures along the narrative arc from the genesis of humanity, through the ancient peoples and their prophets, to the advent of the Qur’an in Arabia. The listing also includes categories of paradisal beings and women figures who are alluded to but not depicted directly. In addition, the book’s introduction outlines how retelling the sacred past generates a new sacred present that is affective and didactic. It discusses relevant rhetorical and stylistic elements of the Qur’an, considers competing methodological trends in Qur’anic studies, and summarizes some of the work’s broader implications for feminist and female-centric exegesis.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

ASNAT: Nabi Surgawi Yang Tersembunyi

2017 ◽  
Vol 16 (1) ◽  
pp. 49
Author(s):  
Asnath Niwa Natar
Keyword(s):  
Women's Roles ◽  
Mothers And Daughters ◽  
Female Figure ◽  
Patriarchal Culture ◽  
Women’S Roles ◽  
Female Figures ◽  
To Come

Abstract: There are some salient female figures who play significant roles in the Bible’s stories. Unfortunately, their stories are not described sufficiently; or in other words, male’s roles have dominated mostly and disguised them. Female figures are conveyed in relation to the men, such as wives, mothers and daughters. Patriarchal culture has abolished women’s roles in history, cultures and religions which give crucial impacts to the exclusion of women in most of their life’s aspects. One of such women who’s deprived is Aseneth, the Joseph’s wife, the Potipherah’s daughter. Aseneth is the significant female figure who plays an outstanding role. Furthermore, she’s an heavenly prophet, to whom the mystery of God’s revealed unspeakably. It’s related to the event when God touched Aseneth’s mouth with the honeycomb, the similar significant story of the calling of the prophets, as it happened upon Jeremiah (Jer 1:9) and Isaiah (Isa 6:6ff). Aseneth’s figure will be able to inspire and strengthen women to come out from their silence and reluctance. Otherwise, she will have encouraged women to struggle against the obstacles of cultures and religion faced for the sake of men’s and women’s equal life. Keywords: Woman, Patriarchal, Aseneth, Joseph, prophet, Culture, religion, equal. Abstrak: Ada banyak tokoh-tokoh perempuan yang cukup berperan dalam Alkitab, namun kisah mereka dipotong atau dihilangkan demi menonjolkan peran dan dominasi laki-laki. Kaum perempuan hanya disebut sepintas lalu dalam kaitan dengan laki-laki, yaitu sebagai istri, ibu dan anak perempuan. Budaya patriarkhi telah menyingkirkan perempuan dalam sejarah, budaya dan agama yang berdampak pada penyingkiran kaum perempuan hampir dalam semua bidang kehidupan termasuk dalam kehidupan keagamaan. Salah satu kisah perempuan yang dihilangkan atau disembunyikan adalah kisah Asnat, anak Fotifera dan istri Yusuf. Asnat adalah seorang perempuan yang aktif bahkan seorang nabi Surgawi, dimana kepadanya disingkapkan rahasia Allah yang tak terkatakan. Hal ini dihubungkan dengan peristiwa disentuhnya mulut Asnat dengan sarang lebah, sebagai sebuah kisah pemanggilan nabi-nabi. Peristiwa yang sama terjadi pada pemanggilan Yeremia (Yer 1:9) dan Yesaya (Yes 6:6 dst) sebagai nabi. Kisah Asnat akan memberikan inspirasi dan kekuatan bagi kaum perempuan untuk keluar dari kebungkaman dan kepasifan mereka serta berjuang melawan rintangan-rintangan budaya dan agama yang ada demi kehidupan yang setara antara laki-laki dan perempuan. Kata-kata Kunci: Perempuan, Patriarki, Asnat, Yusuf, nabi, budaya, agama, kesetaraan.

scholarly journals Note On Two Zakro Sealings

1911 ◽  
Vol 17 ◽  
pp. 264-265
Author(s):  
D. G. Hogarth
Keyword(s):  
The Other ◽  
Left Shoulder ◽  
Original Publication ◽  
Female Figure ◽  
Hands On ◽  
Different Types ◽  
Made In

1. I Published a large number of clay sealings found in 1901 in a house of Late Minoan I. period at Zakro, Crete, in the Journal of Hellenic Studies (xxii. p. 76), with photographs of casts made in Candia from the different types. A representative set of duplicate sealings was afterwards presented to me by the Cretan Government and placed in the Ashmolean Museum at Oxford. When I became Keeper of this Museum some years later, I had these sealings recleaned and re-cast, and so obtained a clearer view of one type (No. 10 on p. 78 of the original publication). As it has some features of interest of which I was unaware previously, I republish it here.I had described it, from collation of thirty imperfectly cleaned impressions of the type, as ‘A female in long bell-skirt with hands on breast, opposed to a figure with cap and long mantle (?) from neck to feet.’ This description was wrong in several particulars. The female figure on the impression is moving to the left, and has one hand on her right breast, the other on her three-fold girdle. It is impossible to determine whether her face is turned full to the front or is seen in profile one way or the other. She is followed, not opposed, by another figure in peaked cap, cloak hanging loosely from the neck to the hips, and long round skirt. This figure, (perhaps male) bears over its left shoulder a long-handled axe.

Two Reliefs in the Ashmolean Museum

1929 ◽  
Vol 49 (2) ◽  
pp. 240-245
Author(s):  
C. A. Hutton
Keyword(s):  
The Body ◽  
The Other ◽  
Left Shoulder ◽  
Female Figures ◽  
Ordinary Type ◽  
The Subject

Among the recent acquisitions of the Ashmolean Museum are the two reliefs which form the subject of the present paper, and which I am permitted to publish by the courtesy of the Keeper, Mr. E. T. Leeds. The Museum already possessed a fragment of a Nymph relief of the ordinary type (three draped female figures moving in procession within a grotto (Chandler, Pars I, Tab. L. No. CXXIV = Michaelis, Anc. Marb., No. 133) so that the two new reliefs materially enrich that group in the Collection.I. Dance of Pan and Nymphs (Pl. XIVa).—Pan occupies the centre of the composition; he moves quickly to his left, leading three female figures in a dance round an altar-shaped stone. He is dressed in a panther skin, which covers his bent right arm; a long narrow mantle is thrown over his left shoulder, one end of which floats behind him, the other is twisted round his left arm, in which he holds a pedum; his head is turned back over his right shoulder towards the nymph who follows him (No. 1). His figure is in high relief (3 cmm.), his head, the floating ends of his scarf and his legs so much undercut as almost to seem detached from the background. The body of the first nymph is also in high relief (2½ cmm.), and is twisted round to present a three-quarters view; her right arm is thrown back to grasp ah end of her drapery, her left is raised to her shoulder.

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