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“Picturing Holy Places: On the Uses of Architectural Symbolism in Icon and Ornament,” Religion and the Arts 5:4 (2001) 399-428.
John Renard
P ic t u r in g H oly P t.ac.ES; © n THE U ses o f A r c h it e c t u r a l P l e b e s in O r n a m e n t a n d Ic o n J o h n R e n a r d Copyright and Use:
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“A Method for Comparative Studies in Religious Visual Arts: Approaching Architecture,” Religion and the Arts 1:1 (1996) 100-123
John Renard
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Painted and architectural ornamentation of the temples of Pagan: More than mere iconography and decoration
Claudine Bautze-Picron
Art of Merit, Studies in Buddhist Art and its Conservation, eds DAVID PARK, KUENGA WANGMO & SHARON CATHER
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Symbolism in Religious Architecture
Vilas Bakde
2012
Religious architecture is the manifestation of man’s attempt to create sacred spaces to pay homage or to pray to his god. It is created to experience the sacred, to provide forms into which spiritual energies flow & reflect a sense of divine. Religions have been less literal, and as a result, they tend to give rise to symbolism. Symbolism is mainly a derivation of faith. Faith relates itself directly to our culture & culture is a product of people. Symbolism for any community or group of people is a direct expression of their beliefs, ideas, fears & celebrations. This gets transferred onto the living spacesour building envelope, which we call architecture. Architecture is a form of symbolic expression which represents in concrete form the prevailing religious consciousness of the people. This paper will focus on the study of architectural form of religious buildings and their symbolic significance.
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IJERT-Symbolism in Religious Architecture A Study of sacred buildings
IJERT Journal
International Journal of Engineering Research and Technology (IJERT), 2012
https://www.ijert.org/symbolism-in-religious-architecture https://www.ijert.org/research/symbolism-in-religious-architecture-IJERTV1IS10539.pdf Religious architecture is the manifestation of man's attempt to create sacred spaces to pay homage or to pray to his god. It is created to experience the sacred, to provide forms into which spiritual energies flow & reflect a sense of divine. Religions have been less literal, and as a result, they tend to give rise to symbolism. Symbolism is mainly a derivation of faith. Faith relates itself directly to our culture & culture is a product of people. Symbolism for any community or group of people is a direct expression of their beliefs, ideas, fears & celebrations. This gets transferred onto the living spaces-our building envelope, which we call architecture. Architecture is a form of symbolic expression which represents in concrete form the prevailing religious consciousness of the people. This paper will focus on the study of architectural form of religious buildings and their symbolic significance.
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IDOLS AND MUSEUM PIECES: Table of Contents and Introduction
caroline van eck
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The Art of Religion: Aestheticizing Christian, Jewish, and Muslim Religious Artifacts
Cynthia A Hogan
2017
This dissertation examines the ways in which new meanings and new categories of knowledge about religious artifacts are produced and disseminated by public fine arts museums and academic art history. Through three case studies of artifacts originally produced for religious use, (1) a thirteenth-century medieval Spanish Crucifix in the Memorial Art Gallery at the University of Rochester, New York, (2) an early twentieth-century Iraqi Tik at the North Carolina Museum of Art, and (3) a fourteenth-century Iranian Mihrab at the Metropolitan Museum of Art, I trace the ways through which religious artifacts are reframed as objects of fine art that are collected and exhibited in fine arts museums. As religious artifacts are incorporated into the museum industry, they are encoded with new secularized meanings through the disciplinary lens of academic art history, altering their original religious value and replacing it with aesthetic value. Further, the narratives that fine arts museums tell about their own histories, which immortalize founders, donors, buildings, and collections, eclipse the religious significance of the particular religious artifacts contained within fine arts museums. As the fine arts museum itself comes to be memorialized and valued in religious ways, religious artifacts, in turn, are secularized through the twin processes of aestheticization and musealization. supported me. The patience, and commitment on the part of my dissertation advisor and committee chair, Randall Styers, has allowed me to flourish as a student and scholar. Randall is an incomparable mentor and teacher. I am also grateful to Jonathan Boyarin, John Coffey, David Morgan, and Todd Ochoa who graciously served on my doctoral dissertation committee and offered their time as well as their critical insights and advice as this project progressed. I'd like to thank Richard Viladesau for his insights on Christian art and culture and Carl Ernst for his insights on Islamic art and culture. I'm grateful as well to Gabriel Goldstein for his assistance and guidance related to Judaica in general and the Judaic Art collection at the North Carolina Museum of Art in particular. I'd also like to thank Myra Quick and Tracey Cave in the Department of Religious Studies at the University of North Carolina at Chapel Hill. I'm grateful for the kindness and assistance that I have received during my research from Kathleen NiCastro, Kerry Schauber, Lucy Harper, Nancy Norwood, and Grant Holcomb at the Memorial Art Gallery at the University of Rochester; Natalia Lochnya, Michael Klauke, and Connie Shertz at the North Carolina Museum of Art; and Maryam D. Ekhtiar and Ria Breed at the Metropolitan Museum of Art. I'd like to thank Carolyn Allmendinger and Caroline Wood of the Ackland Museum of Art at the University of North Carolina at Chapel Hill for their helpful insights at the start of this project. Many thanks also to Peter Rosenbaum for his editorial assistance at this project's close. Many hours of editing were graciously offered by Randall Styers, John Coffey, Jonathan Boyarin v and Peter Rosenbaum. Despite their best efforts, the mistakes that no doubt remain are entirely my own. I would not have completed this program or this project without the unwavering support of family and friends, who have so graciously and generously been there for me in countless ways. My deepest thanks to
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Psychological Templates of Religion and Their Reflection in Art, Architecture or the Decorative Arts
John Comninos
Religious art acts as the conduit for human need. The projection of psychological needs as posited by Freud has led to a cynical view of religious art as only related to religious expression, but we propose to view art as a projection of ultimate concern. The means by which human need for nurture and family, amongst other aspects, is expressed and objectified and becomes an external mean, through which love and it mirroring are expressed and processed.
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The Origins, Developments and Contemporary Significances of Early Christian Art
Scott D G Ventureyra
2016
Early Christianity, with respect to the first five centuries, comprises a vast amount of historical data which continues to be unraveled to this very day. The keys to unlocking the "truth," or rather, the attempt to arrive at the most accurate representation of the past, given our limited knowledge and the available data, lies not only with certain texts but with copious amounts of art embodied through various different forms. These forms can be found through architecture (cathedral, church), iconography (icon, painting, fresco, mosaic), sculptures (Byzantine ivory statues, Catholic plague columns), wood carving, manuscript miniature, stained glass, oil on canvas and limited edition reproductions. Due to the nature and limitations associated with historical studies, one must make an inference to the best explanation. An inference to the best explanation involves ruling out multiply competing explanations for the best one. This is partially accomplished by analyzing the data contextually while using a critical approach (a practice of good hermeneutics). Due to the fact that no one, currently living today, was around to witness any of the events or formation of the available historical data, one must look at the preponderance of evidence.
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The Origin, Development and Contemporary Significances of Early Christian Art
Scott D G Ventureyra
The American Journal of Biblical Theology, 2016
Early Christianity, with respect to the first five centuries, comprises a vast amount of historical data which continues to be unraveled to this very day. The keys to unlocking the " truth, " or rather, the attempt to arrive at the most accurate representation of the past, given our limited knowledge and the available data, lies not only with certain texts but with copious amounts of art embodied through various different forms. These forms can be found through architecture (cathedral, church), iconography (icon, painting, fresco, mosaic), sculptures (Byzantine ivory statues, Catholic plague columns), wood carving, manuscript miniature, stained glass, oil on canvas and limited edition reproductions. Due to the nature and limitations associated with historical studies, one must make an inference to the best explanation. An inference to the best explanation involves ruling out multiply competing explanations for the best one. This is partially accomplished by analyzing the data contextually while using a critical approach (a practice of good hermeneutics). Due to the fact that no one, currently living today, was around to witness any of the events or formation of the available historical data, one must look at the preponderance of evidence.
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