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The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.
11 Research products (1 rule applied)

  • Digital Humanities and Cultural Heritage
  • 2023-2023

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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: 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)

    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/ ZENODOarrow_drop_down
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    ZENODO
    Presentation . 2023
    License: CC BY
    Data sources: Datacite
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    ZENODO
    Other literature type . 2023
    License: CC BY
    Data sources: ZENODO
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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/ ZENODOarrow_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/
      ZENODO
      Presentation . 2023
      License: CC BY
      Data sources: Datacite
      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
      Other literature type . 2023
      License: CC BY
      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/
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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: Gobbato, Viviana;

    La lumière naturelle dans l’architecture chrétienne relève d’une acception spirituelle qui se fonde sur une longue tradition. Depuis une cinquantaine d’années, l’éclairage électrique bouleverse, quant à lui, la mise en valeur des œuvres d’art religieux qui y sont exposées. En s’appuyant sur l’étude de trois projets récents réalisés dans des lieux sacrés – la chapelle de la reine Théodelinde à Monza (2015), la Scuola Grande de San Rocco à Venise (2018) et la basilique Saint-Pierre de Rome (2018) –, l’article interroge les intentions et les impacts de ces nouvelles stratégies d’éclairage LED sur la présentation et l’expérience de l’architecture et de l’art sacré patrimonialisés. Les résultats font émerger trois procédés : (i) structuration et focalisation, (ii) flexibilité de scènes lumineuses et (iii) haut rendement des couleurs et des matières. Ces stratégies sont fondées sur des fonctions ostensives (monstration de l’espace et de l’œuvre, restauration visuelle), cognitives (construction de sens, narration) et esthétiques (stimulation d’états sensibles et contemplatifs). Les dispositifs d’éclairage qui en résultent semblent s’inscrire dans une muséologie du sensible et s’apparentent à des dispositifs de médiation sensorielle lumineuse. Cela pourrait à l’avenir servir d’inspiration pour la mise en valeur et l’interprétation du patrimoine et des collections patrimoniales des musées. The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.

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    OpenEdition
    Article . 2023
    Data sources: OpenEdition
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    In Situ : Revue de Patrimoines
    Article . 2023 . Peer-reviewed
    Data sources: Crossref
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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/ OpenEditionarrow_drop_down
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      OpenEdition
      Article . 2023
      Data sources: OpenEdition
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      In Situ : Revue de Patrimoines
      Article . 2023 . Peer-reviewed
      Data sources: Crossref
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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: Gómez-Ferrer Lozano, Guillermo; Martín Lloris, Catalina;

    This paper presents the aesthetics of recognition as the mostappropriate approach for discerning the religious potentiality (ofa Christian nature) in a significant part of contemporary art. To doso, it is necessary to understand the mechanisms, functions, andforms of recognition, to distinguish between profane, sacred, andreligious art, to critically analyze the aesthetic model of theCatholic Church rooted in the concept of Neoplatonic beauty,and to propose an alternative procedure. The alternativeprocedure serves two purposes: first, to reveal the religiousaspect of a substantial segment of contemporary culture that hasbeen largely overlooked; and second, to prevent the confusionthat arises from the inclusion of religious works in churches andliturgies, giving the impression that they are sacred. Suchconfusion is widespread and detrimental to the sacramentalexperience of faith. Humanidades

    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/ RIUCV. Repositorio i...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/ RIUCV. Repositorio i...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: Guerrero Rubio, Andrea;

    El presente trabajo de investigación ha centrado su interés temático en el abordaje específico del tema del arte religioso y su relación con las experiencias de fe y de evangelización. De acuerdo a esto se ha considerado oportuno tratar de encontrar la relación estrecha que existe entre arte y teología. Esto porque en el camino de fe y de los procesos de evangelización de la iglesia, se ha podido encontrar la gran riqueza que posee el arte para nutrir la experiencia de encuentro con Dios y los hermanos. Se reconoce del mismo modo, que el arte se ha ido desvinculando a través del tiempo de la teología, es por ello, que se considera la pertinencia y la necesidad de indagar este aspecto como objeto problemático y de investigación. This research work has focused its thematic interest on the specific approach to the theme of religious art and its relationship with the experiences of faith and evangelization. Accordingly, it has been considered opportune to try to find the close relationship that exists between art and theology. This is because in the path of faith and the evangelization processes of the church, it has been possible to find the great wealth that art possesses to nourish the experience of encounter with God and the brothers. It is recognized in the same way that art has been disassociated through time from theology, which is why the relevance and need to investigate this aspect as a problematic and research object is considered. Licenciado en Teología Pregrado

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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 Instituc...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: Balandžiūnienė, Ramunė; Vilkinytė, Erika; Žukauskaitė, Raimonda;

    Straipsnyje pristatytos XVII a. akmeninių žvakidžių poros iš Kauno Šv. Jurgio Kankinio bažnyčios konservavimo, restauravimo ir trūkstamų dalių atkūrimo koncepcijos paieškos. Pateikta istorinės ir ikonografinės medžiagos analizė, atlikta siekiant pasiūlyti žvakidžių trūkstamų dalių rekonstrukciją. Remiantis surinkta istorine medžiaga ir analogais pateikti trys žvakidžių trūkstamų dalių rekonstrukcijos pasiūlymai. Išanalizuotos literatūroje aprašytos akmeniui konservuoti ir restauruoti taikomos metodikos. Straipsnių pagrindu atlikti įvairių sudėčių mišinių bandymai, skirti paviršiaus išdaužoms užpildyti. Atrinktas vienas tinkamas mišinys. Taip pat pasiūlyti du nuskilusio fragmento priklijavimo metodai. Tinkamiausiam metodui išrinkti reikia atlikti papildomus bandymus. Detaliai aprašyti atlikti cheminiai ir natūros tyrimai. Vadovaujantis atliktais tyrimais ir bandymais pasiūlyta žvakidžių konservavimo ir restauravimo darbų metodika. Reikšminiai žodžiai: žvakidės, barokas, Kauno Šv. Jurgio Kankinio bažnyčia, Debniko kalkakmenis (klintis), akmens konservavimas ir restauravimas. The paper is concerned with the process of developing the concept for the conservation, restoration, and reconstruction of the missing parts of the seventeenth-century candleholders from the Church of St. George the Martyr in Kaunas. The paper will review the issues encountered in the effort to find and select materials for the conservation and restoration of stone fragments. It will also describe the tests carried out during the process and highlight the role of chemical and non-interventional analysis as an auxiliary tool in the process of conservation and restoration. Keywords: candleholders, Baroque, Kaunas Church of St. George the Martyr, Debnik limestone, stone conservation and restoration.

    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/ “Lituanistika”, Inte...arrow_drop_down
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    Acta Academiae Artium Vilnensis
    Article . 2023 . Peer-reviewed
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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/ “Lituanistika”, Inte...arrow_drop_down
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      Acta Academiae Artium Vilnensis
      Article . 2023 . Peer-reviewed
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    Authors: Marchetti Ibáñez, Candela;

    [ES] Desde la búsqueda de un conocimiento más amplio de los Milagros Eucarísticos, se pretende realizar en este proyecto una serie de 12 obras artísticas, partiendo de la lista de milagros recopilada en España por Carlo Acutis. Mediante el análisis de obras pictóricas tradicionales, realizamos la composición de obra personal con varias técnicas pictóricas y concluimos el proyecto usando el óleo sobre papel como mejor medio de expresión, añadiendo un soporte rígido, constituido por DM y bastidor. Hacemosreferencia a varios artistas para inspirarnos en el estilo que atribuimos a cada milagro, como un símil de la exclusividad en cada revelación de Dios al hombre. [EN] Looking to search for a greater knowledge of the Eucharistic Miracles, we intend to realize in this project a series of 12 artistic works, starting from the list of miracles in Spain compiled by Carlo Acutis. Through the analysis of traditional pictorial works, we made the composition of personal work with various pictorial techniques and concluded the project using oil on paper as the best means of expression, adding a rigid support, consisting of DM and frame. We refer to various artists for inspiration in the style we attribute to each miracle, as a simile of the exclusivity in each revelation of God to man.

    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/ RiuNetarrow_drop_down
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    RiuNet
    Other literature type . 2023
    License: CC BY
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  • Authors: Gobbato, Viviana;

    International audience; The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.; La lumière naturelle dans l’architecture chrétienne relève d’une acception spirituelle qui se fonde sur une longue tradition. Depuis une cinquantaine d’années, l’éclairage électrique bouleverse, quant à lui, la mise en valeur des œuvres d’art religieux qui y sont exposées. En s’appuyant sur l’étude de trois projets récents réalisés dans des lieux sacrés – la chapelle de la reine Théodelinde à Monza (2015), la Scuola Grande de San Rocco à Venise (2018) et la basilique Saint-Pierre de Rome (2018) –, l’article interroge les intentions et les impacts de ces nouvelles stratégies d’éclairage LED sur la présentation et l’expérience de l’architecture et de l’art sacré patrimonialisés. Les résultats font émerger trois procédés : (i) structuration et focalisation, (ii) flexibilité de scènes lumineuses et (iii) haut rendement des couleurs et des matières. Ces stratégies sont fondées sur des fonctions ostensives (monstration de l’espace et de l’œuvre, restauration visuelle), cognitives (construction de sens, narration) et esthétiques (stimulation d’états sensibles et contemplatifs). Les dispositifs d’éclairage qui en résultent semblent s’inscrire dans une muséologie du sensible et s’apparentent à des dispositifs de médiation sensorielle lumineuse. Cela pourrait à l’avenir servir d’inspiration pour la mise en valeur et l’interprétation du patrimoine et des collections patrimoniales des musées.

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    Authors: Jansen, Willy;

    In 1915 the Biblical Museum near Nijmegen, the Netherlands, opened its doors to the public. Its artistic advisor was Piet Gerrits, an all-round artist and craftsman. This article discusses how the experience-based knowledge gathered by Gerrits through the Latin missions in the Middle East from 1906 to 1911 was reproduced, materialized, transmitted and transformed in the museum and the churches he decorated in the Netherlands. It also shows how his artwork was recently re-appropriated by Jordanians to restore their damaged local cultural heritage and Christian identity. In the analysis of Gerrits’s visualizations of the East in paintings, statues and architecture, three types of experience-based knowledge are distinguished and illustrated: embodied knowledge, material heritage and religious coexistence. Such an approach was not easily assimilated in Europe, as representations of intimate knowledge of everyday life in the Levant clashed with Catholic iconographic norms and the assumptions, dominant representations, and religious aims of other authorities involved. En 1915, le musée Biblique près de Nimègue, aux Pays-Bas, ouvre ses portes au public. Son conseiller artistique est Piet Gerrits, un artiste et artisan accompli. Cet article traite de la façon dont les connaissances fondées sur l’expérience recueillies par Gerrits, au travers des missions latines au Moyen-Orient de 1906 à 1911, ont été reproduites, matérialisées, transmises et transformées dans le musée et les églises qu’il a décorés aux Pays-Bas ; et comment les Jordaniens se sont réapproprié l’œuvre de Gerrits pour restaurer leur patrimoine culturel local endommagé et identité chrétienne. Dans l’analyse des visualisations de l’Orient dans les peintures, statues et architecture de Gerrits, on distingue trois types d’approches basées sur l’expérience et démontrées ici : la connaissance incarnée, le patrimoine matériel et la coexistence religieuse. Cette démarche n’est pas facilement assimilée en Europe, où les représentations de la connaissance intime de la vie quotidienne au Levant se heurtent aux normes iconographiques catholiques et aux assomptions, représentations dominantes et objectifs religieux des autres autorités impliquées.

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  • Relevance of the study. Postmodern genre pluralism, including in sacred musical creativity, has increased the interest of scientists in church genres that have recently been on the margins of musicological science, namely those that were not based on canonical texts, but relied on the paraliturgical tradition. Among them, let us pay attention to the rite of the Way of the Cross (via crucis), which for a long time was in the shadow of canonical genres, but in the period of modernism and especially in postmodern times, due to mobility, it turned out to be relevant for the creative searches of contemporary masters. The first artistic example—«Via crucis» by F. Liszt, created at the end of the 19th century, laid the foundation for the genre of the Way of the Cross, and therefore deserves the primary attention of scientists. No less important are works that not only continue the genre tradition, but also rely on the Lisztian model invariant. In this context, the iconic composition is «Via crucis» by S. Vagnini, written at the turn of the millennium. Both works are connected not only by belonging to the genre invariant, but also by the originality of approaches to the passion narrative underlying the rite, so this aspect is central in the comparative analysis of these compositions that are significant for European religious music. The purpose of the article is to reveal the temporal aspect of the deployment of the passion narrative in the compositions «Via crucis» by F. Liszt and S. Vagnini and to elucidate the artistic and dogmatic-theological potential of temporal shifts in the passion narrative. The methodological basis of the article are the historical, cultural and comparative methods, which made it possible to single out the Way of the Cross from other passion genres and to carry out its typology. Musical-liturgical and theological-hermeneutic analysis made it possible to identify the features of the embodiment of the passion narrative in the works of «Via crucis» by F. Liszt and S. Vagnini, to prove that temporality as a category outlining the linearity or non-linearity of the storyline deployment can become a factor in the formation of new meanings—artistic and theologicaldogmatic. The results and conclusions. A typology of the musical-liturgical genre of the Way of the Cross has been created: a genre invariant (a work of cantata-oratorio type with a developed instrumental and minimized verbal component) and two variants —instrumental and cantata-oratorio with a sprawling and detailed storyline —has been identified. The genre invariant, represented by the work «Via crucis» by F. Liszt (1879) and the modular oratorio of the same name by S. Vagnini (1997), turned out to be the most mobile and open to experiments. Both works are notable for the temporal decision in the unfolding of the passionate narration, which is unconventional for sacred music. F. Liszt violates the linearity of the passionate narrative, based on fourteen episodes of the rite of the Way of the Cross, choosing for a number of parts of his «Via crucis» verbal texts that are temporally inconsistent with the content of the events described. Of particular importance in the composer’s work is the medieval sequence Stabat mater, which serves as a marker of the presence of the Mother of God in the storyline of the Way of the Cross. In «Via crucis» by S. Vagnini, who in his composition focused on Liszt’s work, temporal non-linearity becomes the basis of a parallel storyline of the Mother of God. Temporal shifts and double (parallel) narrativity in the works of F. Liszt and S. Vagnini become a form of conveying theological truths, namely, in a special and visual way they emphasize the role of the Mother of God in the Salvation history. Виділено й охарактеризовано наративний та рефлексійний компоненти сакральної музики барокової і постбарокової доби, здійснено огляд пасійних музично-літургічних жанрів західної християнської традиції та визначено їхні специфічні риси, зокрема зв’язок з літургічною і паралітургічною церковною практикою. Окреслено специфіку паралітургічного обряду хресної дороги, вказано на причини пізнього формування музично-літургічного жанру на його основі, наголошено, що «Via crucis» є пасійним жанром, що має паралітургічну генезу. Створено типологію музично-літургічного жанру хресної дороги: виділено жанровий інваріант (твір кантатно-ораторіального типу з розвиненою інструментальною та мінімізованою вербальною складовою) та два варіанти — інструментальний і кантатно-ораторіальний з розлогою та деталізованою сюжетною лінією. Жанровий інваріант, представлений твором «Via crucis» Ф. Ліста (1879) та однойменною модульною ораторією С. Ваньїні (1997), виявився найбільш мобільним і відкритим до експериментів. Обидва твори відзначаються не традиційним для сакральної музики темпоральним рішенням у розгортанні пасійної оповіді. Ф. Ліст порушує лінійність пасійного наративу, який спирається на чотирнадцять епізодів обряду хресної дороги, обираючи для низки частин свого «Via crucis» темпорально не узгоджені зі змістом описуваних подій вербальні тексти. Особливого значення у творі композитора набуває середньовічна секвенція Stabat mater, що слугує маркером богородичної присутності в сюжетному ряді хресної дороги. У «Via crucis» С. Ваньїні, який орієнтувався на лістівський твір, темпоральна нелінійність стала основою паралельної богородичної сюжетної лінії. Темпоральні зсуви та подвійна (паралельна) наративність у творах Ф. Ліста та С. Ваньїні визначають форму передачі богословських істин, а саме в особливий та наочний спосіб підкреслюють роль Богородиці в історії Спасіння.

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    Authors: Mira Estrada, Ferrando;

    [ES] Este trabajo de fin de grado se centra en el estudio histórico, artístico e iconográfico de unas pinturas murales realizadas por el artista alicantino Eusebio Sempere con la intención de difundir su conocimiento y valorar su estado de conservación. El conjunto se ubica en el baptisterio de la iglesia parroquial Santiago Apóstol en Onil (Alicante), pueblo natal del artista. Estas obras fueron realizadas tras su primer viaje a París, por encargo del párroco de la época, en la década de 1950. El trabajo contiene un profundo análisis que contribuye a determinar las características de las pinturas, comprendiendo su significado e importancia, contextualizándolas en la producción del artista y la pintura mural de mediados del siglo XX en España. Además, se realiza una evaluación completa de su estado de conservación y las posibles causas de sus patologías, incluyendo una propuesta de intervención que abarca un proceso de restauración que palíe los pocos deterioros presentes y un plan de conservación con los tratamientos y acciones pertinentes para mantener todo el espacio en las condiciones más favorables y recomendables. [EN] This final degree project focuses on the historical, artistic and iconographic study of some wall paintings by the Alicante artist Eusebio Sempere with the intention of disseminating knowledge of them and assessing their state of conservation. This mural set is located in the baptistery of the parish church of Santiago Apóstol in Onil (Alicante), the artist's hometown. These works were executed after his first trip to Paris, commissioned by the parish priest of the time, in the 1950s. The work contains an in-depth analysis that helps to determine the characteristics of the paintings, understanding their significance and importance, contextualising them in the artist's production and the wall painting of the mid-20th century in Spain. In addition, a complete assessment is made of their state of conservation and the possible causes of their pathologies, including an intervention proposal that includes a restoration process to alleviate the few deteriorations present and a conservation plan with the pertinent treatments and actions to maintain the entire space in the most favourable and recommendable conditions.

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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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    Authors: Gobbato, Viviana;

    La lumière naturelle dans l’architecture chrétienne relève d’une acception spirituelle qui se fonde sur une longue tradition. Depuis une cinquantaine d’années, l’éclairage électrique bouleverse, quant à lui, la mise en valeur des œuvres d’art religieux qui y sont exposées. En s’appuyant sur l’étude de trois projets récents réalisés dans des lieux sacrés – la chapelle de la reine Théodelinde à Monza (2015), la Scuola Grande de San Rocco à Venise (2018) et la basilique Saint-Pierre de Rome (2018) –, l’article interroge les intentions et les impacts de ces nouvelles stratégies d’éclairage LED sur la présentation et l’expérience de l’architecture et de l’art sacré patrimonialisés. Les résultats font émerger trois procédés : (i) structuration et focalisation, (ii) flexibilité de scènes lumineuses et (iii) haut rendement des couleurs et des matières. Ces stratégies sont fondées sur des fonctions ostensives (monstration de l’espace et de l’œuvre, restauration visuelle), cognitives (construction de sens, narration) et esthétiques (stimulation d’états sensibles et contemplatifs). Les dispositifs d’éclairage qui en résultent semblent s’inscrire dans une muséologie du sensible et s’apparentent à des dispositifs de médiation sensorielle lumineuse. Cela pourrait à l’avenir servir d’inspiration pour la mise en valeur et l’interprétation du patrimoine et des collections patrimoniales des musées. The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.

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    OpenEdition
    Article . 2023
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    In Situ : Revue de Patrimoines
    Article . 2023 . Peer-reviewed
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      OpenEdition
      Article . 2023
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      In Situ : Revue de Patrimoines
      Article . 2023 . Peer-reviewed
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    Authors: Gómez-Ferrer Lozano, Guillermo; Martín Lloris, Catalina;

    This paper presents the aesthetics of recognition as the mostappropriate approach for discerning the religious potentiality (ofa Christian nature) in a significant part of contemporary art. To doso, it is necessary to understand the mechanisms, functions, andforms of recognition, to distinguish between profane, sacred, andreligious art, to critically analyze the aesthetic model of theCatholic Church rooted in the concept of Neoplatonic beauty,and to propose an alternative procedure. The alternativeprocedure serves two purposes: first, to reveal the religiousaspect of a substantial segment of contemporary culture that hasbeen largely overlooked; and second, to prevent the confusionthat arises from the inclusion of religious works in churches andliturgies, giving the impression that they are sacred. Suchconfusion is widespread and detrimental to the sacramentalexperience of faith. Humanidades

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    Authors: Guerrero Rubio, Andrea;

    El presente trabajo de investigación ha centrado su interés temático en el abordaje específico del tema del arte religioso y su relación con las experiencias de fe y de evangelización. De acuerdo a esto se ha considerado oportuno tratar de encontrar la relación estrecha que existe entre arte y teología. Esto porque en el camino de fe y de los procesos de evangelización de la iglesia, se ha podido encontrar la gran riqueza que posee el arte para nutrir la experiencia de encuentro con Dios y los hermanos. Se reconoce del mismo modo, que el arte se ha ido desvinculando a través del tiempo de la teología, es por ello, que se considera la pertinencia y la necesidad de indagar este aspecto como objeto problemático y de investigación. This research work has focused its thematic interest on the specific approach to the theme of religious art and its relationship with the experiences of faith and evangelization. Accordingly, it has been considered opportune to try to find the close relationship that exists between art and theology. This is because in the path of faith and the evangelization processes of the church, it has been possible to find the great wealth that art possesses to nourish the experience of encounter with God and the brothers. It is recognized in the same way that art has been disassociated through time from theology, which is why the relevance and need to investigate this aspect as a problematic and research object is considered. Licenciado en Teología Pregrado

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    Authors: Balandžiūnienė, Ramunė; Vilkinytė, Erika; Žukauskaitė, Raimonda;

    Straipsnyje pristatytos XVII a. akmeninių žvakidžių poros iš Kauno Šv. Jurgio Kankinio bažnyčios konservavimo, restauravimo ir trūkstamų dalių atkūrimo koncepcijos paieškos. Pateikta istorinės ir ikonografinės medžiagos analizė, atlikta siekiant pasiūlyti žvakidžių trūkstamų dalių rekonstrukciją. Remiantis surinkta istorine medžiaga ir analogais pateikti trys žvakidžių trūkstamų dalių rekonstrukcijos pasiūlymai. Išanalizuotos literatūroje aprašytos akmeniui konservuoti ir restauruoti taikomos metodikos. Straipsnių pagrindu atlikti įvairių sudėčių mišinių bandymai, skirti paviršiaus išdaužoms užpildyti. Atrinktas vienas tinkamas mišinys. Taip pat pasiūlyti du nuskilusio fragmento priklijavimo metodai. Tinkamiausiam metodui išrinkti reikia atlikti papildomus bandymus. Detaliai aprašyti atlikti cheminiai ir natūros tyrimai. Vadovaujantis atliktais tyrimais ir bandymais pasiūlyta žvakidžių konservavimo ir restauravimo darbų metodika. Reikšminiai žodžiai: žvakidės, barokas, Kauno Šv. Jurgio Kankinio bažnyčia, Debniko kalkakmenis (klintis), akmens konservavimas ir restauravimas. The paper is concerned with the process of developing the concept for the conservation, restoration, and reconstruction of the missing parts of the seventeenth-century candleholders from the Church of St. George the Martyr in Kaunas. The paper will review the issues encountered in the effort to find and select materials for the conservation and restoration of stone fragments. It will also describe the tests carried out during the process and highlight the role of chemical and non-interventional analysis as an auxiliary tool in the process of conservation and restoration. Keywords: candleholders, Baroque, Kaunas Church of St. George the Martyr, Debnik limestone, stone conservation and restoration.

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    Acta Academiae Artium Vilnensis
    Article . 2023 . Peer-reviewed
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      Acta Academiae Artium Vilnensis
      Article . 2023 . Peer-reviewed
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    Authors: Marchetti Ibáñez, Candela;

    [ES] Desde la búsqueda de un conocimiento más amplio de los Milagros Eucarísticos, se pretende realizar en este proyecto una serie de 12 obras artísticas, partiendo de la lista de milagros recopilada en España por Carlo Acutis. Mediante el análisis de obras pictóricas tradicionales, realizamos la composición de obra personal con varias técnicas pictóricas y concluimos el proyecto usando el óleo sobre papel como mejor medio de expresión, añadiendo un soporte rígido, constituido por DM y bastidor. Hacemosreferencia a varios artistas para inspirarnos en el estilo que atribuimos a cada milagro, como un símil de la exclusividad en cada revelación de Dios al hombre. [EN] Looking to search for a greater knowledge of the Eucharistic Miracles, we intend to realize in this project a series of 12 artistic works, starting from the list of miracles in Spain compiled by Carlo Acutis. Through the analysis of traditional pictorial works, we made the composition of personal work with various pictorial techniques and concluded the project using oil on paper as the best means of expression, adding a rigid support, consisting of DM and frame. We refer to various artists for inspiration in the style we attribute to each miracle, as a simile of the exclusivity in each revelation of God to man.

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    RiuNet
    Other literature type . 2023
    License: CC BY
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