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Religious architecture --- Poreč --- religious art --- religieuze architectuur
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monasteries [built complexes] --- religious art --- religieuze architectuur --- Querétaro
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Painting --- Graphic arts --- painting [image-making] --- religious art --- anno 1600-1699
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Social ethics --- Religious studies --- Iconography --- religion [discipline] --- religious history --- love [emotion] --- religious art --- peace --- religious experience --- tolerance
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Christian religion --- Art styles --- Antique, the --- religious art --- Byzantine [culture and style] --- Renaissance --- anno 1400-1499 --- anno 1500-1599 --- Europe
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Painting --- Bible --- Iconography --- Western Europe --- Art [Christian ] --- Art [Eclesiastical ] --- Art chrétien --- Art ecclésiastique --- Art et symbolisme chrétiens --- Art religieux chrétien --- Art sacré --- Arts in the Church --- Christelijke iconografie --- Christelijke kunst en symboliek --- Christelijke symboliek --- Christian art and symbolism --- Christian symbolism --- Ecclesiastical art --- Godsdienstige kunst [Christelijke ] --- Iconografie [Christelijke ] --- Iconographie chrétienne --- Kerkelijke kunst --- Kunst [Christelijke ] --- Kunst [Godsdienstige ] [Christelijke ] --- Kunst [Kerkelijke ] --- Kunst [Sacrale ] --- Religious art [Christian ] --- Sacrale kunst --- Sacred art --- Symboliek [Christelijke ] --- Symbolisme chrétien --- 220 --- bijbels --- Oude Testament --- Nieuwe Testament --- kunst --- schilderkunst --- Illustrations --- religious art
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These essays on late antiquity traverse a territory in which Christian and pagan imagery and practices compete, coexist, and intermingle. The iconography of the most significant late antique ceramic, African Red Slip Ware, is an important and relatively unexploited vehicle for documenting the diversity and interpenetration of late antique cultures. Literary texts and art in other media, particularly mosaics, provide imagery that complement and enhance the messages of the ceramics. Popular entertainments, pagan cults, mythic heroes, beasts, monsters, and biblical visions are themes dealt with on the patrician and popular levels. With interpretive supplements from these diverse realms, it is possible to achieve greater insight into the life, attitudes, and thought of Late Antiquity.
Christian art and symbolism. --- Christian literature, Early --- History and criticism. --- 246 "00/06" --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Christelijke kunst en symbolisme--?"00/06" --- Art et symbolisme chrétiens --- Littérature chrétienne primitive --- Histoire et critique --- Religious art --- Christian art and symbolism --- Symbolism in art --- History and criticism --- Christian literature, Early - History and criticism.
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De l’objet cultuel à l’oeuvre d’art en Europe constitue une réflexion sur l’un des processus centraux de l’art européen : le passage d’une création destinée, au Moyen-Age, à célébrer les représentations et les rituels de la foi, à la conception moderne de l’oeuvre d’art, que l’on date communément de la Renaissance. La réalité est plus complexe: les critères esthétiques étaient présents bien avant le XVIe siècle, derrière une instrumentalisation souvent ambiguë de la religion, qui perdure d’ailleurs aujourd’hui sous d’autres formes. Ces différentes communications sont des repères de transition qui mettent en lumière quelques-unes des innombrables facettes de ce processus, dans le temps et l’espace européens, dans les relations aux oeuvres qu’entretiennent commanditaires et spectateurs, dans les motifs et les genres, dans les stratégies des artistes eux-mêmes et dans la ou les définitions explicites ou implicites de l’art qu’une époque se donne.
Religious articles --- Liturgy and art --- Objets religieux --- Liturgie et art --- Art, Renaissance --- Christian art and symbolism --- Art, European --- Congresses --- Christian special devotions --- Christian religion --- Christianity --- religious art --- European --- Art --- anno 1400-1499 --- anno 1500-1599 --- Europe --- Art, Renaissance - Congresses --- Christian art and symbolism - Europe - Congresses --- Art, European - Congresses --- Christelijke kunst
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Nach dem ersten, kosmologisch orientierten Band der Schöpfungslehre widmet sich der zweite der theologischen Anthropologie. Unter dem Titel »Genus humanum« wird im ersten Teil das bearbeitet, was an der biblischen »Urgeschichte« heute anthropologisch bedenkenswert erscheint. Untersucht werden die Paradiesgeschichte, die Geschichte von Kain und Abel und die vom Turmbau zu Babel. Der zweite Teil steht unter der Überschrift »Species christianae«. Es geht um die Vielfalt von Menschenarten, die die christliche Religion bei aller Konzentration auf Leben und Gestalt Jesu von Nazareth, des neuen Adam, hervorgebracht hat. Als typische Sorten kann man die Heiligen ansehen, zu deren anthropologischer Sortierung die Allerheiligenlitanei geeignet erscheint. Der so eingeschlagene Weg geht über das Interesse der klassischen theologischen Anthropologie am Wesen des Menschen hinaus. Der Untertitel steht darum im Plural: »Menschen«.
233 --- De mens. Theologische antropologie --- Creation. --- Creation --- Biblical cosmogony --- History of doctrines. --- Christian dogmatics --- History of doctrines --- Cosmogony --- Natural theology --- Teleology --- Beginning --- Biblical cosmology --- Creation windows --- Creationism --- Evolution --- Theological anthropology --- Christian art and symbolism. --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Man (Christian theology) --- Christianity. --- Creation - History of doctrines
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In the late fifteenth century, votive panel paintings, or tavolette votive, began to accumulate around reliquary shrines and miracle-working images throughout Italy. Although often dismissed as popular art of little aesthetic consequence, more than 1,500 panels from the fifteenth and sixteenth centuries are extant, a testimony to their ubiquity and importance in religious practice. Humble in both their materiality and style, they represent donors in prayer and supplicants petitioning a saint at a dramatic moment of crisis. In this book, Fredrika H. Jacobs traces the origins and development of the use of votive panels in this period. She examines the form, context and functional value of votive panels, and considers how they created meaning for the person who dedicated them as well as how they accrued meaning in relationship to other images and objects within a sacred space activated by practices of cultic culture.
Painting --- Christian special devotions --- anno 1400-1499 --- anno 1500-1599 --- Italy --- Votive offerings --- Panel painting, Italian --- Christian art and symbolism --- Christianity and culture --- Art and popular culture --- Ex-voto --- Peinture sur panneau italienne --- Art et symbolisme chrétiens --- Christianisme et civilisation --- Art et culture populaire --- History --- Histoire --- Art et symbolisme chrétiens --- Popular culture and art --- Popular culture --- Contextualization (Christian theology) --- Culture and Christianity --- Inculturation (Christian theology) --- Indigenization (Christian theology) --- Culture --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Italian panel painting --- Ex-votos --- Offerings, Votive --- Sacrifice --- Arts and Humanities --- Religion
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