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The Five Senses in Genre Paintings of the Dutch Golden Age
The Five Senses in Genre Paintings of the Dutch Golden Age Kitsirin Kitisakon+ (Thailand) Abstract This article aims to study one of the most popular themes in 17th-Century Dutch genre paintings - the five senses - in its forms and religious interpretations. Firstly, while two means of representation were used to clearly illustrate the subject, some genre scenes could also be read on a subtle level; this effectively means that such five senses images can be interpreted somewhere between clarity and am- biguity. Secondly, three distinct religious meanings were identified in these genre paintings. Vanity was associated with the theme because the pursuit of pleasure is futile, while sin was believed to be committed via sensory organs. As for the Parable of the Prodigal Son, party scenes alluding to the five senses can be read as relating to the episode of the son having spent all his fortune. Keywords: Five Senses, Genre Painting, Dutch Golden Age, Prodigal Son + Dr. Kitsirin Kitisakon, Lecturer, Visual Arts Dept., Faculty of Fine and Applied Art, Chulalongkorn University, Thailand. The Five Senses… | 125 Introduction In the 16th and 17th Centuries, the five senses had never been more popular as subject matter for graphic art, especially in the Low Countries. Since Nordenfalk (1985), this theme has been occasionally discussed in monographs, catalogues of specific artists, or Dutch genre painting studies. Yet, an analysis of the modes of representation of the five senses seems to have been ignored, and there is a certain lack of fresh interest in their religious interpretations. From this observa- tion, this article aims to firstly examine how the five senses were represented in the Dutch genre paintings of the Golden Age, inspect how artists narrated them; secondly, reinvestigate how they can be religiously interpreted and propose deeper meanings which go beyond realistic appearance. -
Paradise in the Qur'an and the Music of Apocalypse
CHAPTER 6 Paradise in the Quran and the Music of Apocalypse Todd Lawson These people have no grasp of God’s true measure. On the Day of Resurrection, the whole earth will be in His grip. The heavens will be rolled up in His right hand – Glory be to Him! He is far above the partners they ascribe to Him! the Trumpet will be sounded, and everyone in the heavens and earth will fall down senseless except those God spares. It will be sounded once again and they will be on their feet, looking on. The earth will shine with the light of its Lord; the Record of Deeds will be laid open; the prophets and witnesses will be brought in. Fair judgment will be given between them: they will not be wronged and every soul will be repaid in full for what it has done. He knows best what they do. Q 39:67–70 … An apocalypse is a supernatural revelation, which reveals secrets of the heavenly world, on the one hand, and of eschatological judgment on the other. John J. Collins, The Dead Sea Scrolls 150 ∵ The Quran may be distinguished from other scriptures of Abrahamic or ethical monotheistic faith traditions by a number of features. The first of these is the degree to which the subject of revelation (as it happens, the best English trans- lation of the Greek word ἀποκάλυψις / apocalypsis) is central to its form and contents. In this the Quran is unusually self-reflective, a common feature, inci- dentally, of modern and postmodern works of art and literature. -
DALMI WORKING PAPERS on ART & MARKETS the Artistic Migration
DALMI Working Paper No. 15231 DALMI WORKING PAPERS ON ART & MARKETS The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen Working Paper no. 15231 https://www.dukedalmi.org/wp-content/uploads/15231-Working-Paper.pdf DUKE ART, LAW & MARKETS INITIATIVE 114 S. Buchanan Blvd. Campus Box 90766 Durham, NC 27708 May 2015 DALMI working papers are circulated for discussion and comment purposes. They have not been peer-reviewed. © 2015 by Fiene Leunissen. All rights reserved. Leunissen May 2015 DALMI Working Paper No. 15231 The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen DALMI Working Paper No. 15231 May 2015 ABSTRACT Mechelen (Malines) is a small city in present-day Belgium, positioned between Antwerp and Brussels, along the river the Dijle. While most people today have never heard anything about this city or its history, this small town was once one of the most important cities in the Low Countries. It was also hub for the production of watercolor paintings. During the religious turmoil in the second half of the 16th century a large portion of artists fled the city to find a better life in other European cities. One of these places was Delft, were a group of 24 Mechelen artists settled. In this paper we look at the lives of these artists to better understand the knowledge circulation between the north and the south at the turn of the 17th century. Keywords: Art Markets, Mechelen, Delft, Seventeenth Century JEL: Z11 Leunissen May 2015 DALMI Working Paper No. 15231 Leunissen May 2015 DALMI Working Paper No. -
Raising the Last Hope British Romanticism and The
RAISING THE LAST HOPE BRITISH ROMANTICISM AND THE RESURRECTION OF THE DEAD, 1780-1830 by DANIEL R. LARSON B.A., University of New Mexico, 2009 M.A., University of New Mexico, 2011 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2016 This thesis entitled: “Raising the Last Hope: British Romanticism and the Resurrection of the Dead, 1780-1830” written by Daniel Larson has been approved for the Department of English Jeffrey Cox Jill Heydt-Stevenson Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii ABSTRACT Larson, Daniel R. (Ph.D., English) Raising the Last Hope: British Romanticism and the Resurrection of the Dead, 1780-1830 Thesis directed by Professor Jeffrey N. Cox This dissertation examines the way the Christian doctrine of bodily resurrection surfaces in the literature of the British Romantic Movement, and investigates the ways literature recovers the politically subversive potential in theology. In the long eighteenth century, the orthodox Christian doctrine of bodily resurrection (historically, a doctrine that grounded believers’ resistance to state oppression) disappears from the Church of England’s theological and religious dialogues, replaced by a docile vision of disembodied life in heaven—an afterlife far more amenable to political power. However, the resurrection of the physical body resurfaces in literary works, where it can again carry a powerful resistance to the state. -
Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002
Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002 - Part One - EDITED BY K DÉVÉNYI - A. FODOR THE ARABIST BUDAPEST STUDIES IN ARABIC 28-29 THE ARABIST BUDAPEST STUDIES IN ARABIC 28-29 Proceedings of the Colloquium on Paradise and Hell in Islam Keszthely, 7-14 July 2002 EDITOR ALEXANDER FODOR - Part One - ASSOCIATE EDITORS KINGA DÉVÉNYI TAMÁS IVÁNYI EDITED BY K. DÉVÉNYI - A. FODOR EÖTVÖS LORÁND UNIVERSITY CHAIR FOR ARABIC STUDIES & CSOMA DE KŐRÖS SOCIETY SECTION OF ISLAMIC STUDIES Copyright Ed. Csorna de Kőrös Soc. 2008 MÚZEUM BLD. 4/B BUDAPEST, 1088 HUNGARY BUDAPEST, 2008 THE ARABIST CONTENTS BUDAPEST STUDIES IN ARABIC 28-29 P reface........................................................................................................................................ vii Patricia L. Baker (London): Fabrics Fit for A ngels ............................................................... 1 Sheila S. Blair (Boston): Ascending to Heaven: Fourteenth-century Illustrations of the Prophet’s Micra g ......................................................................................................... 19 Jonathan M. Bloom (Boston): Paradise as a Garden, the Garden as Garden . 37 Giovanni Canova (Naples): Animals in Islamic Paradise and H ell ...................... 55 István Hajnal (Budapest): The Events o f Paradise: Facts and Eschatological Doctrines in the Medieval Isma'ili History ................................................................................ 83 Alan Jones (Oxford): Heaven and Hell in the -
A Study of Hieronymus Bosch's Musical Instruments and Their Dissonant Revolution
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 The Rise of the Sentient Musical Instrument: A Study of Hieronymus Bosch's Musical Instruments and their Dissonant Revolution Liza Young Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Art and Design Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Young, Liza, "The Rise of the Sentient Musical Instrument: A Study of Hieronymus Bosch's Musical Instruments and their Dissonant Revolution" (2011). Senior Projects Spring 2011. 229. https://digitalcommons.bard.edu/senproj_s2011/229 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 The Rise of the Sentient Musical Instrument A Study of Hieronymus Bosch’s Musical Instruments and their Dissonant Revolution Senior project submitted to The Division of the Arts Of Bard College By Liza Young Annandale-on-Hudson, NY May 2011 2 Acknowledgments This project could not have been completed without my family and friends’ support of my increasingly bizarre interests. -
Of Enoch, Which Was Written Around 5000+ Years Ago
Enoch I���GH�S The verses with extensive commentaries, references, and ideas for follow-up S N Strutt NEW BOOK ‘ENOCH INSIGHTS’ - MYTHOLOGY OR TRUTH? Published- May 2018. By S.N.Strutt We have all read the very exciting books of ‘LORD OF THE RINGS’ by R.R.Tolkien and the ‘CHRONICLES OF NARNIA’ by C.S.Lewis at some time or another. Or at least we have seen the films. There are many mystical things, as well as mythological things mentioned in these books that are both very strange and almost seem magical. In Lord of the Rings we have massive Giants and Ogres. We have Dragons in both Lord of the Rings and a Hobbits tale. We have Wizards in the Chronicles of Narnia & we also have a ‘Wicked Snow-queen Witch, who makes the world cold and snowy all the time and does not allow Christmas anymore. Anyone who crosses her is turned to stone. She also has an army of hybrids, trolls, chimeras of all sorts including Centaurs and Minotaurs. In the Books of Narnia, we also have the strange ‘Windows to other worlds and different Times’ through such things as paintings. What if I told you that an ancient story of such places and strange happenings has already been written long ago in the very far past, upon this planet. Or let’s say very similar happenings. In my book ‘Enoch Insights’ we will indeed go back to the land of ‘MIDDLE-EARTH’ and find out that a land almost identical to that described in the Lord of the Rings happened on the earth before the great Flood of Noah and is mentioned in great detail in the Book of Enoch, which was written around 5000+ years ago. -
Ijspret - De Winters Van Hendrick Avercamp”, Rijksmuseum, 14-01-2010 Hendrick Avercamp (Amsterdam 1585-1634 Kampen) Was the Undoubted Master in Painting Ice Scenes
1 Franz Ossing, GFZ German Research Centre for Geosciences Pieter Roelofs, Rijksmuseum Amsterdam Avercamp’s Skies Revised and extended contribution to the symposium “IJspret - De winters van Hendrick Avercamp”, Rijksmuseum, 14-01-2010 Hendrick Avercamp (Amsterdam 1585-1634 Kampen) was the undoubted master in painting ice scenes. His pictures set the standard for the depiction of life on ice in Dutch landscape painting of the 17th century. Winter landscape with skaters (Fig. 1) shown in a monographic exhibition at the Rijksmuseum in Amsterdam and the National Gallery of Art in Washington during the Winter of 2009-2010 is a wonderful example of his skills.1 Persons from all social strata are involved in all kinds of activities imaginable on ice: skaters zoom along, children throw snow balls, the inevitable colf players aim at their target, peasants look for additional food to fight the then commonplace hunger in winter by using bird traps, water is carried in buckets from a hole sawn or hacked into the ice .... Leisure and every day chores are found closely together and entangled intimately in the essence of a winter in the Netherlands during the Little Ice Age. Fig. 1: Hendrick Avercamp: "Winterlandschap met schaatsers (Winter landscape with skaters)", c.1608, oil on panel, 77.3 x 131.9 cm, Rijksmuseum Amsterdam (click to enlarge) The Little Ice Age covers a time period from the 16th to the 19th century where temperatures were considerably lower than today average. Winters were longer and harsher than during 1 Hendrik Avercamp: “Ijspret”, Rijksmuseum Amsterdam 20.11.2009 – 15.02.2010; Washington DC., National Gallery of Art 21.03.2010 – 05.07.2010. -
Reincarnation in Abrahamic Religions
Leiden University Centre for the Study of Religion (LUCSoR) Master Thesis in Theology and Religious Studies Reincarnation in Abrahamic Religions Submitted by: S. Meysami-Azad Supervisor: Prof. dr. A.F. de Jong Second reader: Dr. E.M. de Boer 31 August 2017 Leiden ADAM ENOCH NOAH ABRAHAM MOSES DAVID ELIJAH JESUS MOHAMMAD 2 Table of Contents Foreword ....................................................................................................................................................... 4 1. Reincarnation; Terminology and Definition .......................................................................................... 7 2. Views of the Afterlife in Judaism ........................................................................................................ 11 2.1. General Views .................................................................................................................................. 12 2.2. The Belief in Reincarnation in Judaism ...................................................................................... 16 2.2.1. Early Period ............................................................................................................................... 16 2.2.2 In Kabbalistic Tradition .............................................................................................................. 19 3. Views of the Afterlife in Christianity ...................................................................................................... 21 3.1 General Views .................................................................................................................................. -
THE LAST JUDGMENT in CHRISTIAN ICONOGRAPHY Alison Morgan Public Lecture Given in the University of Cambridge, 1987
THE LAST JUDGMENT IN CHRISTIAN ICONOGRAPHY Alison Morgan Public lecture given in the University of Cambridge, 1987 I gave this lecture many years ago as part of my doctoral research into the iconography of Dante’s Divine Comedy, using slides to illustrate the subject matter. Thanks to digital technology it is now possible to create an illustrated version. The text remains in the original lecture form – in other words full references are not given. Illustrations are in the public domain, and acknowledged where appropriate; some are my own photographs. If I were giving this lecture today I would want to include material from eastern Europe which was not readily accessible at the time. But I hope this may serve by way of an introduction to the subject. Alison Morgan, September 2019 www.alisonmorgan.co.uk A. INTRODUCTION 1. Christian belief concerning the Last Judgment The subject of this lecture is the representation of the Last Judgment in Christian iconography. I would like therefore to begin by reminding you what it is that Christians believe about the Last Judgment. Throughout the centuries people have turned to the Gospel of Matthew as their main authority concerning the end of time. In chapter 25 Matthew records these words spoken by Jesus on the Mount of Olives: ‘When the Son of Man comes in his glory, and all the angels with him, then he will sit on the throne of his glory. All the nations will be gathered before him, and he will separate people one from another as a shepherd separates the sheep from the goats, and he will put the sheep at his right hand and the goats at the left. -
HNA April 2016 Cover.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 33, No. 1 April 2016 Anthony van Dyck, Portrait of a Woman, ca. 1640. Oil on canvas, Speed Art Museum, Louisville (Kentucky); Museum Purchase, Preston Pope Satterwhite Fund Exhibited in Van Dyck: The Anatomy of Portraiture, The Frick Collection, New York, March 2 – June 5, 2016. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – David Levine Southern Connecticut State University 501 Crescent Street New Haven CT 06515 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Stephanie Dickey (2013-2017) Arthur DiFuria (2016-2020) President's Message .............................................................. 1 Walter Melion (2014-2018) Obituary ................................................................................. 1 Alexandra Onuf (2016-2020) HNA News ............................................................................2 Bret Rothstein (2016-2020) Gero Seelig (2014-2018) Personalia .............................................................................. -
Hell in Popular Muslim Imagination the Anonymous Kitāb Al-ʿaẓama
CHAPTER 7 Hell in Popular Muslim Imagination The Anonymous Kitāb al-ʿAẓama Wim Raven Can we know anything about paradise and hell before being sent to them? This question must have been considered by the first Muslims, who worried about their eternal fate. The relatively scarce details given in the Quran may well have triggered the believers’ imagination while failing to give any com- prehensive answers to their questions. That task was left to the early exegetes, the storytellers (qāṣṣ, pl. quṣṣāṣ) and preachers who explained the Quran, recounted the life of the prophet Muḥammad, and alerted souls to the afterlife (targhīb wa-tarhīb). They were first hand witnesses to the most reliable source of further knowledge: the Prophet himself, whom they made journey through heaven and hell, in the best tradition of Apocalyptic and Ascension literature. Moses, Enoch, and various Christian apostles before him were said to have made a similar journey, and this tradition was also known in Iranian literature, in the Ardā Virāz Nāmag (sixth century CE?). This genre was to continue for centuries: much was written on Muḥammad’s ascension, and this even spread within Europe (Liber Scalae Machometi; ca. 1250?). The idea was also picked up by al-Maʿarrī (d. 449/1058), Dante (d. 1321), and, at a more popular level, by the Bulūqiyā story, for example, in the Arabian Nights.1 In this text Bulūqiyā, a Jewish boy from Cairo, wishes to find the prophet Muḥammad. His quest leads him through mythological landscapes, where he meets various supernatural beings who teach him about the unknown parts of the universe from where they originate.