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reisimpressies --- migratie --- religieuze kunst --- hedendaagse kunst --- pelgrimstochten --- Christoffel (heilige)
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mannelijk naakt --- werken op papier --- mythologie --- vrouwelijke kunstenaars --- religieuze kunst --- iconografie --- Drawing --- Graphic arts --- drawings [visual works] --- prints [visual works] --- portraits --- men [male humans] --- Kunsthalle Bremen --- mannelijk naakt. --- werken op papier. --- mythologie. --- vrouwelijke kunstenaars. --- religieuze kunst. --- iconografie. --- (naakte) menselijke figuur; ‘Corpo humano’ (Ripa)
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Al een paar decennia wordt de muziek van Hildegard van Bingen (1098-1179) wereldwijd beluisterd. Antifonen en responsories, hymnen en sequenties uit 'Symphonia armonie celestium revelationum' weerklinken in allerlei uitvoeringen. Maar net als bij de cantates van Bach kan men zich afvragen in hoeverre de abdis van de benedictinessen van Rupertsberg echt begrepen wordt. Wat bedoelde de middeleeuwse mystica en theologe in wezen met haar verzen en composities, die fungeerden binnen een liturgische context?00Deze eerste volledige vertaling van de Latijnse 'Symphonia' van Hildegard van Bingen wil een sleutel zijn om de wereld van de ?Sibille van de Rijn?, zieneres en theologe, wetenschapsvrouw en kunstenares, ook via haar poëzie toegankelijk te maken.00Vertaler Patrick Lateur is classicus en publiceert als dichter en vertaler, bloemlezer en essayist.
Medieval Latin literature --- Poetry --- German literature --- 248 HILDEGARDIS BINGENSIS --- 248 HILDEGARDIS BINGENSIS Spiritualite. Ascese. Mystique. Theologie ascetique et mystique. Devotion--HILDEGARDIS BINGENSIS --- 248 HILDEGARDIS BINGENSIS Spiritualiteit. Ascese. Mystiek. Vroomheid--HILDEGARDIS BINGENSIS --- Spiritualite. Ascese. Mystique. Theologie ascetique et mystique. Devotion--HILDEGARDIS BINGENSIS --- Spiritualiteit. Ascese. Mystiek. Vroomheid--HILDEGARDIS BINGENSIS --- C1 --- religieuze kunst --- liturgie --- Kerken en religie
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Alabaster was a popular material in European sculpture, especially from the fourteenth to the seventeenth century. Its relative availability and easy to sculpt characteristic made it a highly suitable material for both large monuments and small objects, for mass production and individual works, from England to Spain and France to the Netherlands, Germany and Poland. This material has been the subject of multidisciplinary research in various European countries for several decades. The research combines material analyses with historical and art-historical approaches. This publication, made for the occasion of the large exhibition on the theme at M Leuven opening on October 14th, brings together all renown specialists on the material and sheds light on the many facets of alabaster, such as its physical and chemical properties as well as its translucency, its whiteness, its softness, and its beautiful sheen, all of which made it a popular material used in different types of sculpture from the middle ages to the baroque, all throughout Europe, ranging from bespoke tombs, funerary monuments and commissioned sculptures and altarpieces to commercially interesting formulas such as English or Mechelen alabaster reliefs.).
Sculpture --- sculpture [visual works] --- alabaster [mineral] --- anno 1300-1399 --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Europe --- Sculpture en albâtre --- Monuments funéraires. --- Histoire. --- Matériaux. --- M - Museum Leuven (Louvain, Belgique). --- Artistic techniques and materials --- Medieval sculpture --- Baroque & Rococo sculpture --- Renaissance sculpture --- 7 <09> --- 73 --- 73 Beeldhouwkunst. Sculptuur --- Beeldhouwkunst. Sculptuur --- 73 Plastic arts --- Plastic arts --- 7 <09> Kunstgeschiedenis. Kunsthistorie --- Kunstgeschiedenis. Kunsthistorie --- Kunstgeschiedenis --- Religieuze kunst --- Beeldhouwkunst --- Middeleeuwen --- sculptuur. --- albasten beelden. --- 1300 - 1650. --- Europa. --- sculptuur --- albasten beelden --- 1300 - 1650 --- Europa
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Seit dem 6. Jahrhundert erfuhr der Osten eine Sonderentwicklung der christlichen Kunst. Eine besondere Rolle spielt dabei die Ikone, die als Bild die heilige Gestalt vertritt. Die Auseinandersetzungen im Bilderstreit des 8./9. Jahrhunderts waren stark theoretischer Natur, brachten aber für längere Zeit ein Verbot christlicher Bilder mit sich. Nach dem Sieg der Befürworter von Bildern bildete sich im 11. Jahrhundert ein System heraus, das die Bilder im Kirchenraum, aber auch auf dem Templon (der Ikonostas) betraf. Waren zunächst Byzanz und der Balkan die führenden Regionen, so entstand mit der Taufe Russlands ein Gebiet, in dem die neueren Probleme - wie das Verhältnis zum Westen - bis zur Gegenwart ausgefochten werden.
246 <09> --- 246.5 --- 246.5 Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Christelijke kunst en symbolisme--Geschiedenis van --- Christliche Archäologie --- Kulturgeschichte --- Kirchengeschichte --- Ikonographie --- Kunstgeschichte --- Christliche Kunst --- 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 --- Kunstgeschiedenis --- Religieuze kunst --- Christelijke kunst --- Art chrétien --- Iconographie --- Christian religion --- Iconography --- Medieval [European] --- anno 500-1499 --- iconography --- anno 1500-1799 --- Deutsche Kirchengeschichte --- German church history --- Art history --- Cultural History --- Early Christian --- Germany --- Russia --- art history --- Christian archaeology --- cultural history --- Religious architecture --- churches [buildings] --- History.
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