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  • Digital Humanities and Cultural Heritage
  • Portuguese

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  • Authors: Pinto, Rooney;

    Framed mainly in the context of Religious Art, particularly in the field of sacred art and iconography, this research had as object of study the Marian iconography in the Portuguese Jesuit space, worship and devotion of the Virgin Mary at Igreja do Colégio de Jesus de Coimbra (Church of the College of Jesus in Coimbra). Based on the analysis from the European Christian context to the Portuguese Christian context, the evolution of spirituality and devotion of the Virgin Mary emerged. It was found that the evolution of spirituality and theological debates on the divine motherhood of Mary reflected on the Marian iconographic programs. Therefore, we sought to identify the relevant iconographic elements to the various representations of the Virgin. The religious orders played a crucial role in promoting devotion to Mary. Many churches, chapels and shrines dedicated to Our Lady in Portugal appraise the strong presence of this devotional element. This research trend culminated in the analysis of the Company of Jesus' role on the promotion of Marian worship and devotion in Portugal, especially at Igreja do Colégio de Jesus de Coimbra. With the support of King John III, the Jesuits developed their educational apostolate in Portuguese lands, building colleges and strengthening its relationship with society. As many other Company's churches, Sé Nova (the New Cathedral) in Coimbra (former Igreja do Colégio de Jesus) displays in its chapels and altarpieces, several elements that identify the relevance of worship and devotion to the Virgin Mary for the Order. Marian devotion has proved to be a strong element that is present in the Company of Jesus' history, being widely exploited in the sacred art of the Jesuit churches and especially in the Company’s propaganda. Finally, it was concluded that the Igreja do Colégio de Jesus de Coimbra (current New Cathedral) has indications that show the high influence of the Jesuits in the promotion of Marian devotion in Portugal.

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  • Authors: Leal, Lécio;

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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: 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: Leal, Lécio;

    The coffered ceiling of Nossa Senhora dos Réis de Lamalonga church is one of the largest and most important nucleus of painting in the northeastern region of Portugal. Given the ambitious programme of interceding saints it appears that the work was largelly triggered by the human tragedy in Lisbon earthquake of 1 November 1755. Joaquim Manuel da Rocha, an emerging painter from Lisbon in the mid 60's, and Domingos Teixeira Barreto, one of the most important artist from Porto until the end of the century, were the chosen to carry out the project.

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    Authors: Ribeiro, Maria Eurydice de Barros;

    Os azulejos portugueses em Portugal e no Brasil são considerados quase sempre como objetos da História da Arte. A proposta deste estudo consiste em abordar os azulejos não como objetos de arte, mas como documentos da história da cultura luso-brasileira. O conceito de imagem documento será desenvolvido por meio da análise de um dos ritos mais importantes da história da cultura religiosa ocidental: a procissão. A atenção do estudo recairá, em especial, sobre a Procissão dos Ossos, que se encontra representada nos painéis de azulejos (séc. XVIII) da Igreja da Misericórdia em Salvador. A Procissão dos Ossos, instituída por D. Manoel em 1498, tinha como objetivo a retirada dos ossos dos justiçados, dando-lhes sepultura. Para a missão, o rei designou a Ordem da Misericórdia. O ato régio se estendeu ao Brasil, quando a primeira Casa da Misericórdia foi fundada na cidade do Salvador, em 1549. O painel, datado do século XVIII, representando a cerimônia, divide o espaço da igreja da Misericórdia com outras duas representações: a procissão do Senhor Morto, introduzida no Brasil (também pelos portugueses), e a Procissão do Fogaréu, introduzida pelos espanhóis. Entre a data da realização da primeira Procissão dos Ossos e o assentamento do painel de azulejos existe um espaço de tempo que permite avaliar a heterogeneidade dos tempos da arte, onde os ritmos diferenciados não coincidem, necessariamente, com os tempos da história. Portuguese tiles in Portugal and Brazil are often considered as objects belonging to the History of Art. The purpose of this study is to address the tiles not as objets d'arte but as documents of the history of Luso-Brazilian culture. The concept of an image document will be developed through the analysis of one of the most important rites of the history of Western religious culture: the procession. The study will focus in particular on the Procession of the Bones, which is represented in the panels of the tiles (c. XVIII) of the Church of Mercy in Salvador. The Procession of the Bones, instituted by King Manuel in 1498, was intended for the removal of bones of those brought to justice, and to provide them with a burial. For the mission, the king appointed the Order of Mercy. This Royal act was extended to Brazil when the first House of Mercy was founded in the city of Salvador in 1549. The panel, dating from the eighteenth century, and representing the ceremony, divides the Church of Mercy with two other representations: the Procession of the Dead Lord, introduced in Brazil (also by the Portuguese), and the Procession of the Torches, introduced by the Spanish. Between the date of the first Procession of the Bones and the laying of the panel of tiles, there is a time frame that evaluates the heterogeneity of art periods, where differentiated rhythms do not necessarily coincide with the periods of history.

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    Authors: Yang, Klency Kakazu de Brito;

    Este trabalho trata do estudo das pinturas parietais na Basílica de Nossa Senhora de Assunção, no Mosteiro de São Bento, em São Paulo. A Igreja foi ornamentada após a Restauração da Congregação Beneditina Brasileira, um esforço conjunto da Congregação Beneditina Brasileira e a Congregação de Beuron. Com a chegada dos monges europeus, houve o revival do canto gregoriano e a vinda da arte monástica beuronense; modelo artístico existente na Basílica de São Paulo. O estudo foi desenvolvido através de análise bibliográfica e pesquisa de campo para elucidação das questões sobre a arte beuronense produzida na Basílica, com ênfase em documentos primários e no livro The Aesthetic of Beuron and other writings de Desiderius Lenz (2007). Este trabalho concluiu que houve a circulação de modelos beuronenses dentro e fora dos muros beneditinos, e que a produçãobeuronense paulistana possui características ímpares do artista Dom Adelbert Gresnicht, que foi discípulo de Dom Desiderius Lenz na ?Escola de Arte de Beuron?. This work aims the study of the wall paintings in the Basilica of Our Lady of the Assumption in the Monastery of St. Benedict,at São Paulo city. The church was ornamented after the movement called Restoration of the Brazilian Benedictine Congregation, a joint effort of the Brazilian Benedictine Congregation and Congregation of Beuron. With the arrival of European monks in Brazil, the Beuronese Arts were also landing and fomented therevival of the Gregorian chant, the visual art that arrived was the same model that it is in São Paulo city. This study was developed through literature analysis and field research for elucidation of the questions about beuronese art produced in the São Bento?s Basilica, with emphasis on primary documents and in The Aesthetic of Beuron and other writings by Desiderius Lenz (2007). This research concluded that there was a movement of beuronese models inside and outside the Benedictine walls, and the São Paulo beuronese work has an unique characteristics by the artist Dom Adelbert Gresnicht, who was a disciple of Dom Desiderius Lenz in the "Art School of Beuron." Dados abertos - Sucupira - Teses e dissertações (2013 a 2016)

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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: Souza, Mateus Lima de;

    Made available in DSpace on 2016-07-25T15:16:32Z (GMT). No. of bitstreams: 1 souza_ml_tm283.pdf: 2039203 bytes, checksum: 5f6e03f25ed4c0d6bb0ece5051bb1964 (MD5) Previous issue date: 2014-08-08 The work analyzes the use of art in Brazilian Pentecostalism, dealing specifically with the visual arts and architecture, considering this use in worship spaces and in religious education. One begins with the idea that the relation of the Pentecostal faith with the arts is predominantly marked by rejection, revealing a preference for iconoclasm, therefore one seeks to understand the motives for such a rejection and what space and role this same art encounters in the bosom of Pentecostal religiosity. At the same time it is believed that the use of iconography in religious education is an exception to the iconoclastic posture. The first part of the work studied the development of Christian iconographic art and the main movements of iconoclasty in the Byzantine Empire and from the Protestant Reformation. The second part outlines a history of Brazilian Pentecostalism, from its origins in foreign lands, telling of the emergence and implantation of the main Pentecostal denominations of the country, outlining their profiles, as well as listing a serious of characteristics shared by the majority of the groups of the segment in question. The third part occupies itself with the main goal of the work, discussing the relation of Pentecostalism with the arts, focusing, at first, on the worship spaces. For this it explains the historic evolution of the Christian temples, taking into account artistic and theological aspects, and presents observations of the same nature about Pentecostal temples. Some theological, socio-economic and historical motives are presented which hypothetically contributed to Pentecostalism adopting an iconoclastic posture, which, in its less radical version, excludes in its worship spaces certain artistic manifestations, such as sculptures, or those with certain themes, such as the reproduction of the human image. There is a discussion of the use of figurative art in the literature directed to religious education, where one does not see the same limitations detected in the case of the temples. The posture of Brazilian Pentecostalism suggests a break with the western religious artistic tradition, the inexistence of a sacred art that is characteristic of it and an iconoclasm restricted to the worship houses, since religious education opens itself to didactic applications of iconographic art. O trabalho analisa o uso da arte no pentecostalismo brasileiro, abordando especificamente as artes visuais e a arquitetura, considerando esse uso nos espaços de culto e no ensino religioso. Parte-se da ideia de que a relação da fé pentecostal com as artes é marcada predominantemente pela rejeição, revelando uma preferência pelo iconoclasmo, pelo que se busca entender os motivos de tal rejeição e qual o espaço e o papel que essa mesma arte encontra no seio da religiosidade pentecostal. Ao mesmo tempo, acredita-se que o uso de iconografia no ensino religioso é uma exceção à postura iconoclástica. A primeira parte do trabalho estuda o desenvolvimento da arte iconográfica cristã e os principais movimentos de iconoclastia no Império Bizantino e a partir da Reforma protestante. A segunda parte traça um histórico do pentecostalismo brasileiro, desde suas origens em terras estrangeiras, relatando o surgimento e implantação das principais denominações pentecostais do País, cujos perfis são traçados, bem como arrolando uma série de características compartilhadas pela maioria dos grupos do segmento em questão. A terceira parte ocupa-se com o objetivo principal do trabalho, discutindo a relação do pentecostalismo com as artes, focando-se, primeiramente, nos espaços de culto. Para tanto, explica a evolução histórica dos templos cristãos, levando em conta aspectos artísticos e teológicos, e apresenta observações de mesma natureza sobre os templos pentecostais. São apresentados alguns motivos, teológicos, socioeconômicos e históricos que, hipoteticamente, contribuem para que o pentecostalismo adote uma postura iconoclástica, que, em sua versão menos radical, exclui de seus espaços de culto certas manifestações artísticas, como a escultura, ou com determinadas temáticas, como a reprodução da imagem humana. Discorre-se sobre o uso de arte figurativa na literatura voltada à educação religiosa, onde não se veem as mesmas limitações detectadas no caso dos templos. A postura do pentecostalismo brasileiro sugere rompimento com a tradição artística religiosa ocidental, a inexistência de uma arte sacra que lhe seja característica e um iconoclasmo resumido às casas de culto, uma vez que a educação religiosa abre-se para aplicações didáticas da arte iconográfica.

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    Authors: Garcia, Márcio Lourenço;

    Made available in DSpace on 2016-12-23T14:09:37Z (GMT). No. of bitstreams: 1 Marcio lourenco Garcia.pdf: 625641 bytes, checksum: f15317f0972aa358195a532cd754706d (MD5) Previous issue date: 2013-02-04 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior A tragédia grega, no esquema hegeliano, é situada como um sinal eloquente do momento final da religião da arte, pois, é nessa etapa que se efetua um doloroso cisma entre as leis do Estado e as leis da família. Então, na tragédia, a necessidade do conceito, ainda inconsciente-de-si, se aproxima do conteúdo de vida do destino do herói trágico, assim como a linguagem do aedo deixa de ser impessoal (como na epopéia) e participa ativamente desse conteúdo como ator. Este participa ativamente do drama e interfere no mesmo, sua linguagem denota o pathos do herói. A tragédia antiga começa, pois, a realizar a unidade dos deuses tão reclamada pelos filósofos da antiguidade, e irá desembocar na comédia onde se processará a absolutização do Si e a passagem da consciência feliz para a consciência infeliz. A progressiva manifestação do Espírito pode ser traduzida pelo movimento de saída da substância imediata, visto na religião da arte, que suprassume os momentos da obra-de-arte abstracta e da obra-de-arte vivente, a resultar na obra-de-arte espiritual. Esse movimento consiste no sair da substância em direção ao Si, pois, este reivindica o reconhecimento da sua singularidade pelo coletivo. Ademais, o Si criador da singularidade na religião da arte e no desembocar da tragédia, é instrumento para o autoconhecimento do Espírito, em seus momentos, no tempo, porquanto, sua consciência-de-si revela-se a si mesma mediante as potências universais ofendidas e que reclamam vingança, pois tal religião da arte é como que um espelho do conteúdo do Espírito. Este conteúdo efetivamente presente é, pois, em-si, uma coisa, e, para a consciência, outra. O direito de cima e o de baixo recebem a significação de que o primeiro representa a potência que sabe e que se manifesta à consciência, e, o segundo toma a significação da potência que se subtrai à consciência e se esconde no mundo subterrâneo das Erínias. Esta mesma religião da arte também aguça o espírito e faz alçar a imaginação e a fantasia de todos os espectadores até às alturas da consideração de sua peculiar vida na cidade, do direito humano e do direito divino um sendo o caráter feminino, e o outro, o masculino no caudal da necessidade lógica e que é o próprio destino do Espírito total. A tragédia mostra para a consciência-de-si que não há existência que não seja já de per si cindida e que tal oposição vem a ser o máximo bem de toda a unidade do Espírito The Greek tragedy, in the Hegelian scheme, is situated as an eloquent sign of the final moment of the religion of art, then, is this step that takes place a painful schism between the state law and the family law. Then, in the tragedy, the need of the concept, still unconscious-of-itself, approaches the content of the life of the tragic hero s fate, as well as the language of minstrel ceases to be impersonal (as in epic) and actively participates in this content as actor. He actively participates in the drama and can interfere in the drama, its language indicates the pain of the hero. The ancient tragedy begins, then, to realize the unity of the gods as claimed by the philosophers of antiquity, and will culminate in a comedy in which happens the process of the absolutism of the Self and the passage of the happy consciousness for the unhappy consciousness. The progressive manifestation of the Spirit can be translated by the movement of get out of immediate substance, viewed in the religion of art, which supersedes the moments of the abstract work of art and of the living work of art, resulting in the spiritual work of art. This movement means the output of the substance for himself, because it claims the recognition of their uniqueness by the collective. Moreover, the Self is the creator of the singularity in the religion of art and, in the development of tragedy, is tool for self-knowledge of the Spirit in its moments, in the time, because his self-consciousness reveals itself through the universal powers offended and to seek revenge, because such a religion of art is like the mirror of the Spirit. This content is actually present, therefore, in itself, is a thing, and to the consciousness another. The right upper and the lower receive the significance that the first represents the power that knows, which manifests itself to consciousness, and, the second takes the meaning of power that escapes the consciousness and hides in the underworld of the Erinyes. This same religion of art sharpens the mind and imagination of all spectators to get up a flight to the heights of the consideration of his life in the city, the human and divine right - the first one as the female character, and, the second, the male - in the flow of logical necessity and that is the fate of total Spirit: the tragedy shows that there is no existence that is not already divided in itself and that this opposition is to the highest good of all the unity of the Spirit

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    Authors: Oliveira, Paola Lins de;

    The article focuses on the early years of the cultural biography of the Church of St. Francis of Assisi, located in Pampulha, Belo Horizonte – MG. The “Igrejinha da Pampulha” is part of a plan of urban modernization conceived in the early 1940s by the then-mayor of the state capital, Juscelino Kubitschek, giving rise to the Pampulha Architectural Complex. Designed by the architect Oscar Niemeyer, and decorated mainly by the artist Candido Portinari, the building is not accepted by the local religious authorities, establishing a public controversy between supporters and critics of their consecration. The interest that anchors this analysis lies in the way the building grounds, condenses and stimulates consortia between religious, artistic and political dimensions, while its creators, critics and defenders oscillate between, on the one hand, support of such associations and, on the other, the defense of the distinctions between the same dimensions, both to support as to criticize them. This is therefore a case where what is at stake is the constant tension of the modern paradigm of separation and autonomy of religious, artistic and political bodies. O artigo apresenta uma reflexão sobre os primeiros anos da biografia cultural da Igreja de São Francisco de Assis, situada no bairro da Pampulha, Belo Horizonte – MG. A Igrejinha da Pampulha se insere em um plano de modernização urbana idealizado no início dos anos de 1940 pelo então prefeito da capital mineira, Juscelino Kubitschek, que dá origem ao Conjunto Arquitetônico da Pampulha. Com projeto do arquiteto Oscar Niemeyer e programa decorativo encabeçado pelo artista plástico Cândido Portinari, a edificação é recusada pelas autoridades religiosas mineiras, estabelecendo uma controvérsia pública entre defensores e críticos de sua consagração religiosa. O interesse que ancora esta análise está no modo como a edificação fundamenta, condensa e estimula consórcios entre as dimensões religiosa, artística e também política, ao mesmo tempo em que seus idealizadores, críticos e defensores oscilam entre, de um lado, a sustentação de tais associações e, de outro, a aposta nas distinções entre as mesmas dimensões, tanto para defendê-las quanto para criticá-las. Trata-se portanto de um caso no qual está em jogo o tensionamento constante do paradigma moderno de separação e autonomia das instâncias religiosas, artísticas e políticas.

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    Authors: Cândido, Manuelina Maria Duarte;

    Estudo de caso: a coleção de imaginária do museu diocesano dom José Tradicionalmente, a cultura material não era utilizada como documento histórico, mas como objeto de fruição, elemento estético, ilustrativo ou de aguçamento dos sentidos. A produção historiográfica mais recente tem também — sem desmerecer aquelas qualidades — procurado fazer sobre os objetos uma leitura enquanto fontes primárias de pesquisa. Nesta perspectiva, nosso trabalho procurou, ainda que de forma limitada pelas dificuldades inerentes ao propósito e à nossa modesta experiência, levantar informações sobre a complexa rede de produção, circulação, consumo, veneração e posterior institucionalização das imagens sacras que hoje compõem a Coleção de Imaginária do Museu Dom José.

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17 Research products (1 rule applied)
  • Authors: Pinto, Rooney;

    Framed mainly in the context of Religious Art, particularly in the field of sacred art and iconography, this research had as object of study the Marian iconography in the Portuguese Jesuit space, worship and devotion of the Virgin Mary at Igreja do Colégio de Jesus de Coimbra (Church of the College of Jesus in Coimbra). Based on the analysis from the European Christian context to the Portuguese Christian context, the evolution of spirituality and devotion of the Virgin Mary emerged. It was found that the evolution of spirituality and theological debates on the divine motherhood of Mary reflected on the Marian iconographic programs. Therefore, we sought to identify the relevant iconographic elements to the various representations of the Virgin. The religious orders played a crucial role in promoting devotion to Mary. Many churches, chapels and shrines dedicated to Our Lady in Portugal appraise the strong presence of this devotional element. This research trend culminated in the analysis of the Company of Jesus' role on the promotion of Marian worship and devotion in Portugal, especially at Igreja do Colégio de Jesus de Coimbra. With the support of King John III, the Jesuits developed their educational apostolate in Portuguese lands, building colleges and strengthening its relationship with society. As many other Company's churches, Sé Nova (the New Cathedral) in Coimbra (former Igreja do Colégio de Jesus) displays in its chapels and altarpieces, several elements that identify the relevance of worship and devotion to the Virgin Mary for the Order. Marian devotion has proved to be a strong element that is present in the Company of Jesus' history, being widely exploited in the sacred art of the Jesuit churches and especially in the Company’s propaganda. Finally, it was concluded that the Igreja do Colégio de Jesus de Coimbra (current New Cathedral) has indications that show the high influence of the Jesuits in the promotion of Marian devotion in Portugal.

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  • Authors: Leal, Lécio;

    (...)

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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: Leal, Lécio;

    The coffered ceiling of Nossa Senhora dos Réis de Lamalonga church is one of the largest and most important nucleus of painting in the northeastern region of Portugal. Given the ambitious programme of interceding saints it appears that the work was largelly triggered by the human tragedy in Lisbon earthquake of 1 November 1755. Joaquim Manuel da Rocha, an emerging painter from Lisbon in the mid 60's, and Domingos Teixeira Barreto, one of the most important artist from Porto until the end of the century, were the chosen to carry out the project.

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    Authors: Ribeiro, Maria Eurydice de Barros;

    Os azulejos portugueses em Portugal e no Brasil são considerados quase sempre como objetos da História da Arte. A proposta deste estudo consiste em abordar os azulejos não como objetos de arte, mas como documentos da história da cultura luso-brasileira. O conceito de imagem documento será desenvolvido por meio da análise de um dos ritos mais importantes da história da cultura religiosa ocidental: a procissão. A atenção do estudo recairá, em especial, sobre a Procissão dos Ossos, que se encontra representada nos painéis de azulejos (séc. XVIII) da Igreja da Misericórdia em Salvador. A Procissão dos Ossos, instituída por D. Manoel em 1498, tinha como objetivo a retirada dos ossos dos justiçados, dando-lhes sepultura. Para a missão, o rei designou a Ordem da Misericórdia. O ato régio se estendeu ao Brasil, quando a primeira Casa da Misericórdia foi fundada na cidade do Salvador, em 1549. O painel, datado do século XVIII, representando a cerimônia, divide o espaço da igreja da Misericórdia com outras duas representações: a procissão do Senhor Morto, introduzida no Brasil (também pelos portugueses), e a Procissão do Fogaréu, introduzida pelos espanhóis. Entre a data da realização da primeira Procissão dos Ossos e o assentamento do painel de azulejos existe um espaço de tempo que permite avaliar a heterogeneidade dos tempos da arte, onde os ritmos diferenciados não coincidem, necessariamente, com os tempos da história. Portuguese tiles in Portugal and Brazil are often considered as objects belonging to the History of Art. The purpose of this study is to address the tiles not as objets d'arte but as documents of the history of Luso-Brazilian culture. The concept of an image document will be developed through the analysis of one of the most important rites of the history of Western religious culture: the procession. The study will focus in particular on the Procession of the Bones, which is represented in the panels of the tiles (c. XVIII) of the Church of Mercy in Salvador. The Procession of the Bones, instituted by King Manuel in 1498, was intended for the removal of bones of those brought to justice, and to provide them with a burial. For the mission, the king appointed the Order of Mercy. This Royal act was extended to Brazil when the first House of Mercy was founded in the city of Salvador in 1549. The panel, dating from the eighteenth century, and representing the ceremony, divides the Church of Mercy with two other representations: the Procession of the Dead Lord, introduced in Brazil (also by the Portuguese), and the Procession of the Torches, introduced by the Spanish. Between the date of the first Procession of the Bones and the laying of the panel of tiles, there is a time frame that evaluates the heterogeneity of art periods, where differentiated rhythms do not necessarily coincide with the periods of history.

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    Authors: Yang, Klency Kakazu de Brito;

    Este trabalho trata do estudo das pinturas parietais na Basílica de Nossa Senhora de Assunção, no Mosteiro de São Bento, em São Paulo. A Igreja foi ornamentada após a Restauração da Congregação Beneditina Brasileira, um esforço conjunto da Congregação Beneditina Brasileira e a Congregação de Beuron. Com a chegada dos monges europeus, houve o revival do canto gregoriano e a vinda da arte monástica beuronense; modelo artístico existente na Basílica de São Paulo. O estudo foi desenvolvido através de análise bibliográfica e pesquisa de campo para elucidação das questões sobre a arte beuronense produzida na Basílica, com ênfase em documentos primários e no livro The Aesthetic of Beuron and other writings de Desiderius Lenz (2007). Este trabalho concluiu que houve a circulação de modelos beuronenses dentro e fora dos muros beneditinos, e que a produçãobeuronense paulistana possui características ímpares do artista Dom Adelbert Gresnicht, que foi discípulo de Dom Desiderius Lenz na ?Escola de Arte de Beuron?. This work aims the study of the wall paintings in the Basilica of Our Lady of the Assumption in the Monastery of St. Benedict,at São Paulo city. The church was ornamented after the movement called Restoration of the Brazilian Benedictine Congregation, a joint effort of the Brazilian Benedictine Congregation and Congregation of Beuron. With the arrival of European monks in Brazil, the Beuronese Arts were also landing and fomented therevival of the Gregorian chant, the visual art that arrived was the same model that it is in São Paulo city. This study was developed through literature analysis and field research for elucidation of the questions about beuronese art produced in the São Bento?s Basilica, with emphasis on primary documents and in The Aesthetic of Beuron and other writings by Desiderius Lenz (2007). This research concluded that there was a movement of beuronese models inside and outside the Benedictine walls, and the São Paulo beuronese work has an unique characteristics by the artist Dom Adelbert Gresnicht, who was a disciple of Dom Desiderius Lenz in the "Art School of Beuron." Dados abertos - Sucupira - Teses e dissertações (2013 a 2016)

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    Presentation . 2023
    License: CC BY
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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: Souza, Mateus Lima de;

    Made available in DSpace on 2016-07-25T15:16:32Z (GMT). No. of bitstreams: 1 souza_ml_tm283.pdf: 2039203 bytes, checksum: 5f6e03f25ed4c0d6bb0ece5051bb1964 (MD5) Previous issue date: 2014-08-08 The work analyzes the use of art in Brazilian Pentecostalism, dealing specifically with the visual arts and architecture, considering this use in worship spaces and in religious education. One begins with the idea that the relation of the Pentecostal faith with the arts is predominantly marked by rejection, revealing a preference for iconoclasm, therefore one seeks to understand the motives for such a rejection and what space and role this same art encounters in the bosom of Pentecostal religiosity. At the same time it is believed that the use of iconography in religious education is an exception to the iconoclastic posture. The first part of the work studied the development of Christian iconographic art and the main movements of iconoclasty in the Byzantine Empire and from the Protestant Reformation. The second part outlines a history of Brazilian Pentecostalism, from its origins in foreign lands, telling of the emergence and implantation of the main Pentecostal denominations of the country, outlining their profiles, as well as listing a serious of characteristics shared by the majority of the groups of the segment in question. The third part occupies itself with the main goal of the work, discussing the relation of Pentecostalism with the arts, focusing, at first, on the worship spaces. For this it explains the historic evolution of the Christian temples, taking into account artistic and theological aspects, and presents observations of the same nature about Pentecostal temples. Some theological, socio-economic and historical motives are presented which hypothetically contributed to Pentecostalism adopting an iconoclastic posture, which, in its less radical version, excludes in its worship spaces certain artistic manifestations, such as sculptures, or those with certain themes, such as the reproduction of the human image. There is a discussion of the use of figurative art in the literature directed to religious education, where one does not see the same limitations detected in the case of the temples. The posture of Brazilian Pentecostalism suggests a break with the western religious artistic tradition, the inexistence of a sacred art that is characteristic of it and an iconoclasm restricted to the worship houses, since religious education opens itself to didactic applications of iconographic art. O trabalho analisa o uso da arte no pentecostalismo brasileiro, abordando especificamente as artes visuais e a arquitetura, considerando esse uso nos espaços de culto e no ensino religioso. Parte-se da ideia de que a relação da fé pentecostal com as artes é marcada predominantemente pela rejeição, revelando uma preferência pelo iconoclasmo, pelo que se busca entender os motivos de tal rejeição e qual o espaço e o papel que essa mesma arte encontra no seio da religiosidade pentecostal. Ao mesmo tempo, acredita-se que o uso de iconografia no ensino religioso é uma exceção à postura iconoclástica. A primeira parte do trabalho estuda o desenvolvimento da arte iconográfica cristã e os principais movimentos de iconoclastia no Império Bizantino e a partir da Reforma protestante. A segunda parte traça um histórico do pentecostalismo brasileiro, desde suas origens em terras estrangeiras, relatando o surgimento e implantação das principais denominações pentecostais do País, cujos perfis são traçados, bem como arrolando uma série de características compartilhadas pela maioria dos grupos do segmento em questão. A terceira parte ocupa-se com o objetivo principal do trabalho, discutindo a relação do pentecostalismo com as artes, focando-se, primeiramente, nos espaços de culto. Para tanto, explica a evolução histórica dos templos cristãos, levando em conta aspectos artísticos e teológicos, e apresenta observações de mesma natureza sobre os templos pentecostais. São apresentados alguns motivos, teológicos, socioeconômicos e históricos que, hipoteticamente, contribuem para que o pentecostalismo adote uma postura iconoclástica, que, em sua versão menos radical, exclui de seus espaços de culto certas manifestações artísticas, como a escultura, ou com determinadas temáticas, como a reprodução da imagem humana. Discorre-se sobre o uso de arte figurativa na literatura voltada à educação religiosa, onde não se veem as mesmas limitações detectadas no caso dos templos. A postura do pentecostalismo brasileiro sugere rompimento com a tradição artística religiosa ocidental, a inexistência de uma arte sacra que lhe seja característica e um iconoclasmo resumido às casas de culto, uma vez que a educação religiosa abre-se para aplicações didáticas da arte iconográfica.

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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: Garcia, Márcio Lourenço;

    Made available in DSpace on 2016-12-23T14:09:37Z (GMT). No. of bitstreams: 1 Marcio lourenco Garcia.pdf: 625641 bytes, checksum: f15317f0972aa358195a532cd754706d (MD5) Previous issue date: 2013-02-04 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior A tragédia grega, no esquema hegeliano, é situada como um sinal eloquente do momento final da religião da arte, pois, é nessa etapa que se efetua um doloroso cisma entre as leis do Estado e as leis da família. Então, na tragédia, a necessidade do conceito, ainda inconsciente-de-si, se aproxima do conteúdo de vida do destino do herói trágico, assim como a linguagem do aedo deixa de ser impessoal (como na epopéia) e participa ativamente desse conteúdo como ator. Este participa ativamente do drama e interfere no mesmo, sua linguagem denota o pathos do herói. A tragédia antiga começa, pois, a realizar a unidade dos deuses tão reclamada pelos filósofos da antiguidade, e irá desembocar na comédia onde se processará a absolutização do Si e a passagem da consciência feliz para a consciência infeliz. A progressiva manifestação do Espírito pode ser traduzida pelo movimento de saída da substância imediata, visto na religião da arte, que suprassume os momentos da obra-de-arte abstracta e da obra-de-arte vivente, a resultar na obra-de-arte espiritual. Esse movimento consiste no sair da substância em direção ao Si, pois, este reivindica o reconhecimento da sua singularidade pelo coletivo. Ademais, o Si criador da singularidade na religião da arte e no desembocar da tragédia, é instrumento para o autoconhecimento do Espírito, em seus momentos, no tempo, porquanto, sua consciência-de-si revela-se a si mesma mediante as potências universais ofendidas e que reclamam vingança, pois tal religião da arte é como que um espelho do conteúdo do Espírito. Este conteúdo efetivamente presente é, pois, em-si, uma coisa, e, para a consciência, outra. O direito de cima e o de baixo recebem a significação de que o primeiro representa a potência que sabe e que se manifesta à consciência, e, o segundo toma a significação da potência que se subtrai à consciência e se esconde no mundo subterrâneo das Erínias. Esta mesma religião da arte também aguça o espírito e faz alçar a imaginação e a fantasia de todos os espectadores até às alturas da consideração de sua peculiar vida na cidade, do direito humano e do direito divino um sendo o caráter feminino, e o outro, o masculino no caudal da necessidade lógica e que é o próprio destino do Espírito total. A tragédia mostra para a consciência-de-si que não há existência que não seja já de per si cindida e que tal oposição vem a ser o máximo bem de toda a unidade do Espírito The Greek tragedy, in the Hegelian scheme, is situated as an eloquent sign of the final moment of the religion of art, then, is this step that takes place a painful schism between the state law and the family law. Then, in the tragedy, the need of the concept, still unconscious-of-itself, approaches the content of the life of the tragic hero s fate, as well as the language of minstrel ceases to be impersonal (as in epic) and actively participates in this content as actor. He actively participates in the drama and can interfere in the drama, its language indicates the pain of the hero. The ancient tragedy begins, then, to realize the unity of the gods as claimed by the philosophers of antiquity, and will culminate in a comedy in which happens the process of the absolutism of the Self and the passage of the happy consciousness for the unhappy consciousness. The progressive manifestation of the Spirit can be translated by the movement of get out of immediate substance, viewed in the religion of art, which supersedes the moments of the abstract work of art and of the living work of art, resulting in the spiritual work of art. This movement means the output of the substance for himself, because it claims the recognition of their uniqueness by the collective. Moreover, the Self is the creator of the singularity in the religion of art and, in the development of tragedy, is tool for self-knowledge of the Spirit in its moments, in the time, because his self-consciousness reveals itself through the universal powers offended and to seek revenge, because such a religion of art is like the mirror of the Spirit. This content is actually present, therefore, in itself, is a thing, and to the consciousness another. The right upper and the lower receive the significance that the first represents the power that knows, which manifests itself to consciousness, and, the second takes the meaning of power that escapes the consciousness and hides in the underworld of the Erinyes. This same religion of art sharpens the mind and imagination of all spectators to get up a flight to the heights of the consideration of his life in the city, the human and divine right - the first one as the female character, and, the second, the male - in the flow of logical necessity and that is the fate of total Spirit: the tragedy shows that there is no existence that is not already divided in itself and that this opposition is to the highest good of all the unity of the Spirit

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