Results 51 to 60 of about 1,628 (171)

The Pictures and the Frame: Banknote Iconography and Bottom‐Up Nationalism in Pre‐ and Post‐Revolutionary Tunisia

Nations and Nationalism, EarlyView.
ABSTRACT ‘Bottom‐up nationalism’—the belief that the nation is of the people, by the people and for the people—can serve as a powerful collective action frame for mass mobilization. We study the evolution of Tunisian dinar banknote iconography as an indicator of the institutionalization of bottom‐up nationalism before and after the Jasmine Revolution ...
Jacques E. C. Hymans, Chloe Bernadaux
wiley   +1 more source

The Royal Kilt in Non-Royal Iconography? The Tomb Owner Fowling and Spear-Fishing in the Old and Middle Kingdom [PDF]

, 2010
Many aspects of the scenes in the private tombs of the Old and MiddleKingdom showing the tomb owner fowling and fishing in the marshes are of immense interest.
Hudakova, Lubica (Department of Egyptology, Faculty of Historical and Cultural Studies, University of Vienna)
core  

What Does Intarsia Say? Materiality and Spirituality in the Urbino Studiolo☆

Renaissance Studies, EarlyView.
Abstract Upon entering the Urbino studiolo of Federico da Montefeltro, the visitor is struck by a material‐charged environment. Surprisingly, only a few scholars have addressed one prominent aspect of the decorative scheme, namely, the feature of intarsia as a medium. Even so, it remains on the sidelines of the discussion.
Matan Aviel
wiley   +1 more source

John King, Tudor Royal Iconography. Literature and Art in an Age of Religious Crisis [PDF]

, 1993
Cottret Bernard. John King, Tudor Royal Iconography. Literature and Art in an Age of Religious Crisis. In: Annales. Économies, Sociétés, Civilisations. 48ᵉ année, N. 2, 1993.
Cottret, Bernard
core  

‘Who is the Gael who Would Not Weep?’: The Book of the O’Conor Don, Fearghal Óg Mac an Bhaird, and Late Bardic Poetry of Exile

Renaissance Studies, EarlyView.
Abstract This article examines how late bardic poetry transforms the condition of exile into a literary mode that reimagines community and tradition. I argue that poetry of lament, blessing and devotion articulates a broader literary consciousness that anticipates modern notions of a national consciousness. The compilation of bardic verse in manuscript
Daniel T. McClurkin
wiley   +1 more source

Musical Iconography within the Architecture of Renaissance Prague. On the example of the Royal Garden of Prague Castle [PDF]

, 2018
The subject of this work is the music iconography, its transformations, and applications in the research of the history of musical culture. The author focuses on the definition and legitimacy of music iconography, which is based on basic art history ...
Bíro, Adrián
core  

Artifex Ars Cartographica: Collaboration Between Portuguese Painters and Cartographers in the Fifteenth and Sixteenth Centuries

Renaissance Studies, EarlyView.
ABSTRACT During the fifteenth and sixteenth centuries, there was no statutory difference between cartography, drawing and painting. These activities were performed then by craftsmen who were part of a vast group under the umbrella of ‘mechanical arts’ and fell under the ‘artifex’ category. Artifex were experts in any particular art, whether a craftsman,
Vasco Medeiros
wiley   +1 more source

A Study of Royal Female Power and Political Influence in Ancient Egypt: Contextualizing Queenship in the Twelfth Dynasty [PDF]

, 2019
The Twelfth Dynasty was a time for iconographic expression, new architectural designs, and titular expansion. During the dynasty, royal women began sharing iconographic attributes with ruling monarchs and for the first time the uraeus and sphinx pose ...
Brandi D. Hill
core   +1 more source

Peter IV of Aragon (1336–1387)

Encyclopedia, 2021
Peter IV king of Aragón (1336–1387). He was the seventh king of the Crown of Aragon, and father of Juan I (1387–1396) and Martín I (1396–1410), the last members of the dynasty to take the throne.
Marta Serrano-Coll
doaj   +1 more source

More Science Than Art: The First Botanical Garden in Portugal (c. 1650)

Renaissance Studies, EarlyView.
ABSTRACT Gabriel Grisley, a German physician, came to Portugal and founded a garden near the Xabregas River in Lisbon, during the 1610s under the Spanish kings' rule. In view of the utility a botanic garden represented for the kingdom, he was able to obtain a royal privilege from King João IV during the Restauration War against the Spanish (1640–1668).
Ana Duarte Rodrigues
wiley   +1 more source