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172 Research products (1 rule applied)

  • Digital Humanities and Cultural Heritage
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Farina, Mario;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio istituziona...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio istituziona...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Irene, Montagnolo; Baratin, Laura; Ciardi, MARIA RITA;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio istituziona...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archivio istituziona...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Tabone, A.;

    L-awtur jitkellem dwar l-arti sagra li tirreferi għal dik is-sengħa li tmiss mal-ħwejjeġ imqaddsa. peer-reviewed

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OAR@UMarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    OAR@UM
    Article . 1958 . Peer-reviewed
    Data sources: OAR@UM
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OAR@UMarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      OAR@UM
      Article . 1958 . Peer-reviewed
      Data sources: OAR@UM
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Melis Gomila, Lourdes;

    [cat] Tancar per renéixer: Sovint els museus han de tancar les seves portes per cometre reformes físiques però també de plantejament, per tal de continuar sent atractius per als visitants, oferint noves col·leccions o mostrant-les de manera diferent apostant per nous recorreguts temàtics o didàctics.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Biblioteca Digital d...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Biblioteca Digital d...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Valle, Marco Antonio Alves do;

    In an ancient monastery of Benedictine nuns, located in the village of Bouças it was venerated, since immemorial ages, past or contemporary of the Portuguese Nationality formation, an artistic image of Christ crucified, which is attributed supernatural gifts, therefore, becoming the object of ardent devotion which only grew over time until present days. Em um antiqüíssimo mosteiro de monjas beneditinas, localizado na aldeia de Bouças, se venerou desde eras imemoriais, anteriores ou contemporâneas da formação da nacionalidade portuguesa, artística imagem de Cristo Crucificado, a qual se atribuía dons sobrenaturais, tornando-se por isso, objeto de ardente devoção que só fez crescer através dos tempos chegando aos nossos dias.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Artem Reshetnikov; Sergio Mendoza; Maria-Cristina Marinescu;

    DEArt is an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are cultural heritage specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. This research has been supported by the Saint George on a Bike project 2018-EU-IA-0104, co-financed by the Connecting Europe Facility of the European Union.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ EUDATarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    EUDAT
    Dataset . 2022
    Data sources: B2FIND
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: ZENODO
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ EUDATarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      EUDAT
      Dataset . 2022
      Data sources: B2FIND
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
      Data sources: ZENODO
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
      Data sources: Datacite
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sartor, Mario;

    El artículo explora los orígenes de la representación de la Trinidad y su declive en Europa, durante el siglo XVI, luego de la Contrarreforma. Prohibida en Europa por considerársele herética y confusa para los fines pedagógicos de la iconográfía católica, el tema trinitario floreció en América durante la segunda mitad del siglo XVII en variadas formas y adaptaciones. La prohibición se derivaba del hecho de que esta iconografía podía generar significados idolátricos al relacionar la representación del Espíritu Santo con manifestaciones religiosas animistas. El análisis se basa en un amplio corpus de imágenes recopiladas en varios contextos latinoamericanos y, finalmente, identifica la persistencia de esta representación en el arte moderno mexicano. The article explores the origins of the representation of the trinity in its anthropomorphic trifacial version, its consolidation in the Middle Ages and its decline in Europe during the sixteenth century, after de Counter Reformation. Forbidden in Europe as it was considered heretical and confusing for the pedagogical purposes of catholic iconography, the trinity theme flourished in America in various forms and adaptations during the second half of the seventeenth century. This prohibition derived from the fact that it would have generated idolatrous meanings relating the representation of the Holy Spirit to animist religious representations. The analysis is based on an ample corpus of images compiled from various Latin American contexts and it, finally, identifies the persistence of this representation in modern Mexican art.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositorio Universi...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositorio Universi...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Gaditsky, R. V.;

    Рассматриваются основные пластические приемы визуализации религиозных сюжетов в романском искусстве, выделяются определяющие их фундаментальные черты художественного строя романики. The article studies the basic plastic techniques of religious plots visualization in Romance art, singling out the fundamental features of the Romance artistic peculiarities underlying them.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional reposi...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional reposi...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Vasiliauskienė, Aušra;

    Straipsnyje ikonografiniu metodu analizuojamos Švč. Mergelės Marijos Ėmimo į dangų vaizdavimo ypatybės XVII–XVIII a. Lietuvos dailėje. Aptariama siužeto kilmė ir raida Vakarų Europoje, atskleidžiamas teologinis matmuo. Nustatomos pagrindinės Lietuvoje plitusios ikonografinės-kompozicinės schemos, elementai, jų simbolika. Lietuvos atvaizdai lyginami su to paties laikotarpio Europos kūryba, pagal galimybes išaiškinami kūrinių pirmavaizdžiai. Straipsnis parengtas pagal Lietuvos mokslo tarybos finansuotą projektą „Krikščioniškoji ikonografija XVII–XX a. Lietuvos dailėje: tradicijos ir transformacijos“ (sutarties Nr. VAT-33/2012). The aim of the paper is to analyze the iconography of the Assumption of the Blessed Virgin Mary in Lithua-nian art of the 17th-18th centuries. The article discusses the origins and development of the storyline in Western Europe, reveals the theological dimension. It analyzes the iconographic peculiarities, compositional schemes, elements, their symbolic meaning in comparison with European creation of the same period. Ac-cording to the possibilities the pieces of art prototypes are ascertained. Assumption of the Mother of God in Lithuanian art of the 17th-18th centuries predominated in both easel and murai painting. This climactic moment was usually composed in church vaulting and cupolas which dur-ing the Baroque period were used for the depiction of apotheotic holy scenes. Remaining paintings witness that in the 17th-18th century iconographic compositions of ternary char-acter were spreading: the action can take place in heavenly or heavenly and earthly spheres; in the latter the apostles are grouped. Typical 17th century schemes have been created following Titian and Rubens proto¬types. This group is represented by Kaunas Archdiocese, Merkinė Church specimens. In the 18th century and especially in its 2nd half more rational, one sphere compositions become more frequent, their origin can be related with specimens created by Guido Reni, Bartolomé Esteban Murillo, Nicolas Poussin. Such group is illustrated in Prienai, Medingėnai, Raguvėlė churches and other paintings. In... [to full text]

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    Soter: Religijos Mokslo Žurnalas
    Article . 2013 . Peer-reviewed
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      Article . 2013 . Peer-reviewed
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    This dissertation focusses on the intended functions – specifically the intended meanings – of stained-glass windows donated to churches and religious institutions. My main research question is therefore: “What did the windows mean?” While my research questions have been posed before in other publications, they had not yet been answered using the windows as the primary sources, or for such a relatively large research area and number of sources. This dissertation’s corpus includes 260 surviving pre-Reformation windows from the present-day Netherlands and Belgium. In this dissertation I have examined stained-glass windows using the paradigm of memoria, in combination with various theories concerning function research in general. Both are discussed in chapter one, where I also propose a model in which memoria and these theories are combined. This dissertation employs a methodological concept as well, called the research cycle. The research cycle is a research process that alternates between case studies and broad comparative research, which is reflected in the set-up of this dissertation (and of chapters two, three and four in particular). Chapter two discusses four case studies, namely the parish church of Saint John in Gouda, the chapter church of Saint Waldetrude in Mons, the cathedral of Saint Michael and Saint Gudula in Brussels, and the Jerusalem Chapel in Bruges, and all of their respective windows. Chapter three discusses the trends in iconography and composition, particularly of inscriptions, coats of arms, portraits, saints, and narrative scenes. This chapter confirms that over time the iconography used by donors and other parties to convey their messages greatly diversified, especially elements that served to identify someone. It also showed that there were conventions regarding the way certain iconographic elements were used, but that these were not absolute rules. A new observation in this chapter was the fact that there were also certain functions which the examined windows did not have. For example, none of the portraits in this corpus were made explicitly recognisable as a donor of the window. Similarly, very few portraits in this corpus are explicitly identifiable as belonging to deceased individuals, something that was considerably more common on other forms of memoria-related art. Chapter four consists of three parts. First it focuses on the donation process of stained-glass windows, and on the donors and other parties who were involved during that process. Due to their involvement, these parties also influenced the execution of the window. In the second part of chapter four I discussed the motivations for donors to finance their windows, which could be broadly described using three (sometimes overlapping) categories: obligation, religious motivations, and secular motivations. Finally the third part of this chapter covered practical limitations that affected windows beyond the influence of donors or other parties. Both chapter three and four, and the broad comparative research they were based on, have given us a better idea of which characteristics may be unusual, or conversely fairly representative for this corpus. This in turn makes it easier to identify any deliberate iconographic choices, which would have affected the window’s function. It also makes it easier to formulate new research questions, which is what this dissertation invites the reader to do.

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    Doctoral thesis . 2016
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    Authors: Farina, Mario;
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    Authors: Irene, Montagnolo; Baratin, Laura; Ciardi, MARIA RITA;
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Tabone, A.;

    L-awtur jitkellem dwar l-arti sagra li tirreferi għal dik is-sengħa li tmiss mal-ħwejjeġ imqaddsa. peer-reviewed

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    OAR@UM
    Article . 1958 . Peer-reviewed
    Data sources: OAR@UM
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      OAR@UM
      Article . 1958 . Peer-reviewed
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    Authors: Melis Gomila, Lourdes;

    [cat] Tancar per renéixer: Sovint els museus han de tancar les seves portes per cometre reformes físiques però també de plantejament, per tal de continuar sent atractius per als visitants, oferint noves col·leccions o mostrant-les de manera diferent apostant per nous recorreguts temàtics o didàctics.

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    Authors: Valle, Marco Antonio Alves do;

    In an ancient monastery of Benedictine nuns, located in the village of Bouças it was venerated, since immemorial ages, past or contemporary of the Portuguese Nationality formation, an artistic image of Christ crucified, which is attributed supernatural gifts, therefore, becoming the object of ardent devotion which only grew over time until present days. Em um antiqüíssimo mosteiro de monjas beneditinas, localizado na aldeia de Bouças, se venerou desde eras imemoriais, anteriores ou contemporâneas da formação da nacionalidade portuguesa, artística imagem de Cristo Crucificado, a qual se atribuía dons sobrenaturais, tornando-se por isso, objeto de ardente devoção que só fez crescer através dos tempos chegando aos nossos dias.

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    Authors: Artem Reshetnikov; Sergio Mendoza; Maria-Cristina Marinescu;

    DEArt is an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are cultural heritage specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. This research has been supported by the Saint George on a Bike project 2018-EU-IA-0104, co-financed by the Connecting Europe Facility of the European Union.

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    EUDAT
    Dataset . 2022
    Data sources: B2FIND
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    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: ZENODO
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    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: Datacite
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      EUDAT
      Dataset . 2022
      Data sources: B2FIND
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
      Data sources: ZENODO
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
      Data sources: Datacite
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sartor, Mario;

    El artículo explora los orígenes de la representación de la Trinidad y su declive en Europa, durante el siglo XVI, luego de la Contrarreforma. Prohibida en Europa por considerársele herética y confusa para los fines pedagógicos de la iconográfía católica, el tema trinitario floreció en América durante la segunda mitad del siglo XVII en variadas formas y adaptaciones. La prohibición se derivaba del hecho de que esta iconografía podía generar significados idolátricos al relacionar la representación del Espíritu Santo con manifestaciones religiosas animistas. El análisis se basa en un amplio corpus de imágenes recopiladas en varios contextos latinoamericanos y, finalmente, identifica la persistencia de esta representación en el arte moderno mexicano. The article explores the origins of the representation of the trinity in its anthropomorphic trifacial version, its consolidation in the Middle Ages and its decline in Europe during the sixteenth century, after de Counter Reformation. Forbidden in Europe as it was considered heretical and confusing for the pedagogical purposes of catholic iconography, the trinity theme flourished in America in various forms and adaptations during the second half of the seventeenth century. This prohibition derived from the fact that it would have generated idolatrous meanings relating the representation of the Holy Spirit to animist religious representations. The analysis is based on an ample corpus of images compiled from various Latin American contexts and it, finally, identifies the persistence of this representation in modern Mexican art.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositorio Universi...arrow_drop_down
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