The article deals with the professional decorative and applied art of Krasnoyarsk from the 50s of the twentieth century to the present. The aspect of consideration is the use of the ethnographic motif of the Krasnoyarsk Territory and the features of its embodiment in the products of Krasnoyarsk artists of decorative and applied art. Using the example of the creativity of N.V. Kasatkina, A.G. Tkachev, A.S. Moskvitin, A.S. Migas, S.E. Anufriev and E.A. Krasnova, the aspects of the use (...) of the ethnographic motif and their transformation over time, which led to the formation of archeoart in modern decorative and applied art and the features of its embodiment in the works of the main conclusions of the study are shown. The principles of the use, functioning and transformation of signs of an ethnographic motif in works of decorative and applied art in the Krasnoyarsk Territory are presented. The process of forming a new style in art took place from quoting and simple stylization of individual objects of ethnography in the works of artists to the gradual increase of signs of an ethnographic motif in the works of masters, which led to the formation of a new understanding of the region in art. The main visual concept of modern archeoart is the representation of Yenisei Siberia as the "cradle of humanity". The ethnographic motif associated with the history and mythology of indigenous peoples becomes the starting point in the artistic image, through which the elevation of regional visual signs to symbols understandable to every person takes place. (shrink)

This article reviewed the influence of pre-Islamic religions such as Mithraism and Zoroastrianism on decorative elements of ancient Persian rugs. The article then evaluated the effect of the Islamic religion on Persian rugs. This was examined through extant evidence from pre–Islamic empire artefacts and publications in Persian carpet history, iconography and religious studies. Using spiritual motifs on some ancient rugs results from the important position of rugs in ancient Iranians’ lives. Believing the existence of religious motifs on (...) Persian carpets is because the first carpet in history (Pazyryk) was attributed to the ancient Achaemenians, decorated with symbolic motifs from Mithraism and Zoroastrianism. Pazyryk shows how rug-weaving evolved during the Achaemenids, and it represented spiritual foundations through visual concepts. This article reviewed the symbolic Persian rug motifs from ancient religions through Pazyryk, with support from museum collections. With the emergence of religions, these effects are seen in all aspects of life, including the production of rug design. Contribution: The main contribution of this research was that it investigated the effects of religion on Persian art focusing on the Persian rug. The findings showed that religion had directly influenced the decorative motifs of the Persian rug among high-class families that might have cascaded into visual elements found on commoners’ rugs. (shrink)

This article reviewed the influence of pre-Islamic religions such as Mithraism and Zoroastrianism on decorative elements of ancient Persian rugs. The article then evaluated the effect of the Islamic religion on Persian rugs. This was examined through extant evidence from pre–Islamic empire artefacts and publications in Persian carpet history, iconography and religious studies. Using spiritual motifs on some ancient rugs results from the important position of rugs in ancient Iranians’ lives. Believing the existence of religious motifs on (...) Persian carpets is because the first carpet in history (Pazyryk) was attributed to the ancient Achaemenians, decorated with symbolic motifs from Mithraism and Zoroastrianism. Pazyryk shows how rug-weaving evolved during the Achaemenids, and it represented spiritual foundations through visual concepts. This article reviewed the symbolic Persian rug motifs from ancient religions through Pazyryk, with support from museum collections. With the emergence of religions, these effects are seen in all aspects of life, including the production of rug design.Contribution: The main contribution of this research was that it investigated the effects of religion on Persian art focusing on the Persian rug. The findings showed that religion had directly influenced the decorative motifs of the Persian rug among high-class families that might have cascaded into visual elements found on commoners’ rugs. (shrink)

Fragments of painted plaster found in the destruction layer of three first floor rooms in the House of Seals and of one first floor room of the House of the Sword had broken from the ceiling. They allow the restoration of the schema in the room of the House of the Sword and of two of the rooms in the House of Seals, the latter in colour. Composed of bands surrounding a quadrangular field, these décorations, evoking carpets stretched on the (...) ceiling, are richer (costly pigments, gold leaf) and more complex (some fifteen motifs) than those in tombs of the same period, which adopted the same « carpet » composition and which borrowed from the same repertoire, often confirmed by the textiles. Since we know of no other ceiling decoration in habitation rooms, it is unwise to contrast the exuberance of these ceilings with the tomb ceilings. The room that could not be restored had moreover a much more perfunctory decoration. (shrink)

The object of research in this article is the motif of caryatids in the decoration of the Forum of Augustus. Along with other elements, it is repeated in the ensembles of the cities of Roman Spain and region of Campania. It is believed that the August Forum in its decorative program broadcasts the most important ideological markers of the Early Empire era. In particular, the caryatids decorating the attic of the portico are reduced replicas of the famous figures of (...) the Erechtheion. Such a reference is connected with the glorification of Rome's power over Greece in the reproduction of its figurative system. The subject of the study was the process of transformation that occurs with the motif of caryatids in non-classical ensembles. Following the iconographic, stylistic and semantic changes in the caryatid motif in the ensembles of the cities of August Emerita, Tarracon and Puteola, the author suggests possible causes and options for the transformation of these decorative elements. The article focuses on the possible causes of such a transformation, and also attempts to clarify the concept of the "Forum Augusti model", which is found in the research literature in various meanings and variants, through the analysis of a single element. The lack of a single definition of this phenomenon makes it possible to infinitely expand the range of monuments that could be created in imitation of the metropolitan prototype. The author of the article does not support this position, focusing on a few ensembles in which not only the same iconographic schemes occur, but also the logic of the decorative system is preserved. As a result of the research, it was possible to clarify the concept of the Forum Augusti model, which implies not so much the reproduction of the iconography and stylistics of the original. (shrink)

This paper discusses a krater recently discovered in a cultic building at Tel Burna in the Shephelah. Of special interest is the krater’s relatively well-preserved decoration containing multiple nature scenes related to the so-called tree of life or sacred tree motif. The krater’s physical description and archaeological context and the decoration’s relationship to relevant comparanda are explored in order to elucidate the significance of its iconography. In light of this discussion, we conclude that the decoration includes an abstract representation of (...) a Canaanite goddess as a “pubis of life” variation of the “tree of life” motif on the krater as a votive vessel in the Late Bronze Age cult. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing specific (...) temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

This article is the first publication of a lead seal from a private collection that bears the image of the Incredulity of Thomas. Based upon epigraphy and decorative motifs the seal is assigned to the sixth century. It is the only known sphragistic example of the image of the Incredulity of Thomas and its iconography is compared to other contemporary examples in other media, especially objects of pilgrimage art, among which is a sixth-century gold medallion bearing a similar (...) image, also published for the first time. The image of the seal reflects the thought world of contemporary pilgrimage art and homiletical literature that stresses the believer's transformative participation in Thomas' faith in the reality of Christ's saving Resurrection. (shrink)

A welcome re-issue of a pioneer study first published in 1894. The author explains the recurrence of certain basic Eurasian decorative motifs--e.g., the triskelion, the swastika, and the caduceus --by tracing their migration from one culture to another. The range of the author's archaeological samples is very wide, and a wealth of illustrations allows the reader to check on his inductive claims; the archaeological and historical evidence is well integrated.--C. M.

European prehistoric decorative art abounds in motifs that are not humble decorative elements but seem to be significant signs. Circles, concentric circles with or without a dot in the centre, circles divided into four, six or eight equal segments (sun/star-crosses) and often round decoration complexes filled with different spiral motifs are generally considered sun symbols by archaeologists. It is predominantly accepted that sun cults dominated the belief system of the European Bronze Age. These symbols can be (...) found as a single sign on many artifacts, especially luxury ones like weapons, jewels and fine pottery. Although they were widespread in Europe in the Bronze Age the Carpathian Basin has an outstanding collection of such archaeological material. A detailed comparative study of atmospheric optic phenomena and Bronze Age symbols revealed similarities between many abstract symbols and manifestations of atmospheric phenomena in the sky. The investigation resulted in the assumption of the significance of such symbols in Bronze Age visual culture. The study attempts to identify, present and reveal the role of simple as well as the more complex celestial symbols in the relationship between prehistoric people and their environment based on this argument. (shrink)

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

Dans cette étude, le rôle et la valeur de l’ornementation sont repensés en examinant principalement, par une approche différente, l’une des mosaïques de sol de la Maison de Dionysos à Néa Paphos, celle de l’enlèvement de Ganymède par un aigle. L’organisation spatiale du décor géométrique (la structure générale avec ses motifs) et de la scène figurée permet de suggérer la présence d’un triclinium. L’analyse d’un type de motif géométrique en particulier, le « fleuron en six‑feuilles », montre qu’il revêt (...) vraisemblablement une signification astrale. L’interprétation considère la relation étroite entre la scène figurée et les sept motifs d’étoile, qui renvoient aux planètes connues dans l’Antiquité, et s’appuie sur des comparanda iconographiques et textuels pour réexaminer la portée symbolique de la composition dans son contexte d’utilisation. (shrink)

The main novelty my article brings concerns a particular iconographic motif: that known as the ‘trial by the water of reproach’. In the few cases where this is rendered, usually only Mary is presented as undergoing this test, but in Cappadocian art Joseph is also subjected to it. Additionally, to this visual topic, another one that is rarely depicted will be introduced and commented upon: that known as ‘Christ’s first bath’. I will provide a particular example: the fresco which constitutes (...) part of the decoration that embellishes the walls of Karabaş Kilise/ ‘The Big Church’ in Soğanlı Valley, southern Cappadocia. A few images – one of them never published before – have been included within this publication. (shrink)

La picturalisation de la mosaïque, à partir de la fin du ive siècle, se traduit par l'utilisation d'un nombre croissant de couleurs pour exprimer les jeux d'ombres et de lumières et donner ainsi l'illusion du volume. À cette fin, les mosaïstes ont utilisé, outre des matières naturelles, des matériaux artificiels comme la céramique, mais aussi le verre, la faïence et la peinture qui n'ont pas toujours été signalés dans les publications. Notre propos est donc d'en étudier, à partir de l'examen (...) des mosaïques déliennes, l'emploi selon les types de motifs et de décors, de présenter des observations techniques sur la fabrication de ces tesselles et de les replacer au sein des autres productions de verre et de faïence, enfin d'examiner l'apport de ces observations à l'histoire de la mosaïque hellénistique. (shrink)

Les marques gravées sur les plaques de la frise du théâtre de Delphes font connaître l'ordre suivant lequel elles étaient disposées. La place imposée aux éléments de ce décor par la numérotation et les chevauchements de motifs d'un bloc sur un autre s'opposent à l'hypothèse d'un premier emploi dans une base à orthostates. Les travaux d'Héraclès se sont donc toujours présentés sur une seule ligne.

En 1945 P. Demargne publiait la nécropole de Chrysolakkos à Malia en soulignant la qualité et la richesse extraordinaires de la céramique du style «Camarès» qu'il avait trouvée. Dans les nombreuses publications traitant de l'époque des anciens palais en Crète, la céramique de Chrysolakkos restait méconnue. Malia même figurait — selon l'opinion commune — parmi les centres de second ordre. Cette étude présente, après un catalogue plus complet, un examen des formes, des motifs, des décors, des couleurs et de (...) la qualité de cette céramique unique et en quantité égale à celle de centres comme Cnossos et Phaistos. (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

The discovery in 1980 of a hoard of church plate in the ancient monastery of Derrynaflan, Co. Tipperary, Ireland , at a stroke added significantly to the corpus of Insular metalwork, extended our knowledge of early-medieval European altar plate, and raised afresh important questions about patronage, craft organization, wealth, trade, and exchange. Issues of importance to the interpretation of the history of early-medieval Ireland brought into sharp focus included the relative significance of the Viking invasions as a disrupting influence on (...) Irish society in the ninth century and the form and origins of the liturgy practiced in the early Irish church. Above all, the extension of the known variety of motifs and decorative techniques has greatly enriched the understanding of one of the great ecclesiastical arts of medieval Europe. The circumstances of the finding of the hoard led to litigation lasting almost seven years, which eventually enabled the state to replace the law of treasure trove with new measures to protect archaeological finds in Ireland and to rescue substantial numbers of artifacts, many of them also adding significantly to the corpus of early Irish art. (shrink)

Cretan icons often displayed a precious decoration of golden halos with incised, stippled, and/or impressed designs. The present study points out that these motifs should not be interpreted as manifestations of nostalgic and anachronistic attitudes on the part of post-Byzantine painters working in Candia for Greek Orthodox and Catholic clients. Rather, they appear already in several early Cretan works dating around 1400, which took inspiration from technical devices and ornamental motifs worked out in the workshops of Venice during (...) the second half of the fourteenth century and appropriated in icon painting probably through the mediation of mixed-style works produced in both the lagoon region and Venetian-ruled Candia. (shrink)

Let us look first at poetry. It is well known that by the fifteenth century, lyric poetry had undergone a radical transformation; the early lyric fluidity and formal variability had hardened into the nonlyric and even, some maintain, antilyric forms fixes which characterize the poetic formalism of late medieval France. Dispensing with the details of how and why this occurred, the essential point is that by the end of the Middle Ages, the poet in France and Burgundy saw himself as (...) an artisan of words, not as a singer.6 He refers to himself as a craftsman , and it is plain, sometimes painfully so, to anyone who reads the works that the rhétoriqueur is, indeed, an artisan of forms—or, if you will, an architecte de la parole, a specialist in verbal matter. He works words, sounds, metric and strophic forms into intricate patterns and arranges his elaborate designs in blocks of exact and harmonious symmetry. He is, in fact, from Machaut on, a virtuoso of the verbal equivalent of the architectural art of carrelage which adorned the princely château in which he worked and lived. No one familiar with the period will avoid noticing the strikingly similar types of patters in the poet’s works and in his surroundings.I have gathered elsewhere the visual documentation which bears out Zumthor’s suggestions quoted above with respect to the meticulously constructivist mentality of the Franco-Burgundian artisan. But the analogies I found are much more than perceptual. It is true that the elaborate designs on the walls, floors, ceilings, windows, woodwork, and so forth of the early Renaissance château are, indeed, composed of intricate blocks of material; but their function is not merely decorative , it is also narrative, with emblematic motifs and allegorical figures arrayed in linear patterns of “visual” discourse—the invariable “discours de la gloire” which silently proclaims the magnificence of the patron prince and proprietor of the château .7 6. A summary of internal and external factors in the transformation of lyric to Rhetoric is provided in my review of Die musikalische Erscheinungsform der Trouvèrepoesie by Hans-Herbert S. Räkel , in Romance Philology 34 : 250-58.7. This following collage of fragments from ML was constructed ôto serve as commentary on photographs of tile designs compared with verbal texts, in an earlier version of this paper , from which the examples in figs. 1-4 are taken.Culte de l’objet subtilement travaillé, au-delà de toute fonctionnalité primaire *** primat du labeur ardu, patient, du difficile, de l’inattendu *** les mots mêmes semblent travaillés d’un besoin de scientificité fictive, d’anoblissement par le savoir *** les … mots ne sont plus que les particules d’une parole dont la seule signification est globale *** matériau émancipé des contraintes de la phrase, transposé sur un plan où le signe devient le nom vide de ce signe *** goût du bricolage plutôt que de l’industrie; … du bariolage plus que du fondu et de la nuance; de l’équilibre numéral des parties plus que de la synthèse; du multiple plus que de l’un. Outil forgé martelé d’ “aornures” sans fonction utilitaire; enchâssements cubiques, coniques, pyramidaux, cruciformes du bâtiment … meubles marquetés, forrés de tiroirs minuscules et secrets [and so forth].For the iconography of these examples , see Emile Amé, Less Carrelages émaillés du Moyen Age et de la Renaissance , pp. 61-108. Jonathan Beck is associate professor of French at the University of Arizona. He is the author of Théâtre et propaganda aux débuts de la Réforme , a sequel to his edition and study, Le Concil de Basle: Le Origines du theater réformiste et partisan en France. (shrink)

In recent years, a number of authors have started studying Aristotelian diagrams containing metalogical notions, such as tautology, contradiction, satisfiability, contingency, strong and weak interpretations of contrariety, etc. The present paper is a contribution to this line of research, and its main aims are both to extend and to deepen our understanding of metalogical diagrams. As for extensions, we not only study several metalogical decorations of larger and less widely known Aristotelian diagrams, but also consider metalogical decorations of another type (...) of logical diagrams, viz. duality diagrams. At a more fundamental level, we present a unifying perspective which sheds new light on the connections between new and existing metalogical diagrams, as well as between object- and metalogical diagrams. Overall, the paper studies two types of logical diagrams and four kinds of metalogical decorations. (shrink)

Many natural and technological systems are complex, with organizational structures that exhibit characteristic patterns but defy concise description. One effective approach to analyzing such systems is in terms of repeated topological motifs. Here, we extend the motif concept to characterize the dynamic behavior of complex systems by introducing developmental motifs, which capture patterns of system growth. As a proof of concept, we use developmental motifs to analyze the developmental cell lineage of the nematode Caenorhabditis elegans, revealing a (...) new perspective on its complex structure. We use a family of computational models to explore how biases arising from the dynamics of the developmental gene network, as well as spatial and temporal constraints acting on development, contribute to this complex organization. © 2010 Wiley Periodicals, Inc. Complexity 16: 48‐57, 2011. (shrink)

The Decoration on the Cult Chapel Walls of the Old Kingdom Tombs at Giza: A New Approach to Their Interaction. By Leo Roeten. Culture & History of the Ancient Near East, vol. 70. Leiden: Brill, 2014. Pp. lix + 436, illus. $218.

We will present the main characteristics of the decorative scheme from throne room in the palace of the Neo-Assyrian king Ashurnasirpal II, whose reign extended from 883-859 BC, located in the ancient city of Kalhu, now north Iraq. We consider decorative scheme to be the presence of images and texts in an architectural setting. We believe that the creation of the decorative scheme may be in some way linked to political projects, and therefore, it would be an (...) expression of the royal ideology and rhetoric. Throughout the analysis of the decorative scheme, aided by textual and material sources, we will try to put into evidence the main aspects of the imperial policy in vigour. (shrink)

Our study in corpus linguistics shows how phraseological units allow us to distinguish between literary genres. In order to do so, we propose to analyze in detail two textual motifs and specific to fantasy novels, the second one being moreover transversal. By studying the discursive functions of these two motifs, we show the contribution of this phraseological modeling to the generic analysis.

L'article compare le motif de la contemplation de sa propre image dans une surface réfléchissante chez Plotin avec des motifs semblables que l'on trouvenon seulement dans les récits mythologiques, mais aussi dans les doctrines cosmologiques des systèmes philosophiques, gnostiques surtout, qui sont à la fois proches de Plotin et concurrent, à l'égard de la philosophie plotinienne. En même temps, en analysant deux métaphores mythologiques, dont une se sert du motif de la réflexion dans le miroir (le mythe orphique du (...) démembrement de Dionysos) et l'autre de la réflexion dans l'eau (le mythe de Narcisse), l'article souligne les différences qui séparent la doctrine plotinienne de la descente de l'âme et celle de la chute de l'âme. (shrink)

L'article compare le motif de la contemplation de sa propre image dans une surface réfléchissante chez Plotin avec des motifs semblables que l'on trouvenon seulement dans les récits mythologiques, mais aussi dans les doctrines cosmologiques des systèmes philosophiques, gnostiques surtout, qui sont à la fois proches de Plotin et concurrent, à l'égard de la philosophie plotinienne. En même temps, en analysant deux métaphores mythologiques, dont une se sert du motif de la réflexion dans le miroir (le mythe orphique du (...) démembrement de Dionysos) et l'autre de la réflexion dans l'eau (le mythe de Narcisse), l'article souligne les différences qui séparent la doctrine plotinienne de la descente de l'âme et celle de la chute de l'âme. (shrink)

Transcription factors (TFs) have to find their binding sites, which are distributed throughout the genome. Facilitated diffusion is currently the most widely accepted model for this search process. Based on this model the TF alternates between one‐dimensional sliding along the DNA, and three‐dimensional bulk diffusion. In this view, the non‐specific associations between the proteins and the DNA play a major role in the search dynamics. However, little is known about how the DNA properties around the motif contribute to the search. (...) Accumulating evidence showing that TF binding sites are embedded within a unique environment, specific to each TF, leads to the hypothesis that the search process is facilitated by favorable DNA features that help to improve the search efficiency. Here, we review the field and present the hypothesis that TF‐DNA recognition is dictated not only by the motif, but is also influenced by the environment in which the motif resides. (shrink)

By analysing three paradigmatic passages, this paper explores how Prudentius uses classical love motifs and imagery not only to lambast paganism, but also as a powerful rhetorical tool to convey his Christian message. The ‘fire of love’ imagery is conspicuous in Psychomachia 53–57, which wittily blends Christian and erotic language. In an entirely different context, the flamma amoris is also fully exploited to depict lustful young Vestal Virgins, in combination with other classical metaphors of passion, such as the ‘wound (...) of love’ and the signa amoris. Additionally, the contrast between heat and cold is a central element in the description of the Vestals’ tardy nuptials, redolent of classical satirical portraits of vetulae libidinosae. Finally, in Hamartigenia 628–636 the relationship between the soul and God draws from a Christian tradition of bridal representation, but the lapse into sin is portrayed as the love triangle, typical of the Latin love elegy. These examples illustrate how Prudentius creatively and consciously frames love and sex imagery in new contexts, exploring their potential and infusing clichés with new meanings and forms. (shrink)

_Purpose_ of the research is to study the originality of interpretation of death in the lyrics of Ukrainian diaspora in Canada in the context of the opposition "foreign land – motherland", based on its existential development in philosophical anthropology and culture of the last two centuries. Its implementation presupposes, first of all, analysis of the forms of development and disclosure of the death motif by figurative and artistic means. _Theoretical basis__._ The author uses the well-founded tradition of interpreting the death (...) motif in philosophical literature of the last centuries, i.e. non-classical and modern philosophical thought. _Originality._ The present study is an attempt at systematization of the notions of death in Ukrainian poetry in Canada in the second half of the 20th century. It is based on the study of artistic texts and the worldview of Ukrainian emigrants. Appeal to the fiction of the Ukrainian Diaspora allows illustrating the originality of philosophical understanding of death in the context of the national culture. _Conclusions_. Reference to Ukrainian-Canadian poetry allows expanding the space of philosophical understanding of death in the form of figurative fiction. Concretizing the character of their interpretation of the motif of death, it is necessary to focus attention on its two basic forms of manifestation: existential, associated with living abroad, and sacrificial death for the benefit of the homeland. Thus, the motif of death occupies a significant place in the lyrics of representatives of the Ukrainian diaspora. The concept of human death is closely connected with the concept of life, which is concretized through their meaningful comprehension. This is a matter of interpretation of despair and loneliness motifs, as well as the illumination of the images of a foreign land, which is one of the features of emigrant literature in general. (shrink)

This first part, compiled from a catalogue of documents whose chronology has been reconsidered, is devoted to roofs of marble and limestone. The second part, on terra-cotta roofs, will appear in the Actes du Colloque "Constructions publiques et programmes édilitaires du II s. av. au Ier s. ap. J.-C. "Athènes, EFA, mai 1995. The principal traditions survive until the beginning of the empire, and the tendencies that had already begun to appear in the 3rd c. (disappearance of the cyma reversa (...) and vegetal acroteria with multiple stems) are confirmed. The innovations, revivals (relief anthemia on sloping simas) or creations (antefixes) are common enough, but sporadic. In general, uniformity is allied to restraint, and roof decoration undergoes fewer transformations than do other parts of the buildings. The reign of Augustus is marked by some manifestations of classicism, either strict (Gate of Athena Archegetis) or eclectic (cyma scrolls), and by the restrained accession of Roman influences and models, more visible in the colony of Corinth (Captives' Façade, Babbius Monument) than at Athens. The iconographie symbols are distinct (Lycosoura and Babbius Monument acroteria); the decorative programmes are diluted in the tradition which they reinforce (Athens), or derive from an imported repertoire, but are not numerous (Corinth). (shrink)

Publication de deux poèmes byzantins du 12ème s. attribués à Théodore Prodomos, qui fournissent un certain nombre de renseignements sur les tentes des camps d'hiver des Comnène, et en particulier sur celle de la maison d'Irène la Sevastokratorissa. Cette étude mène l'auteur à un commentaire historico-artistique des éléments décrits: il compare d'abord ceux-ci avec l'art des 11ème et et 12ème s., et particulièrement avec l'art profane, puis il s'interroge sur l'authenticité des descriptions par rapport aux figures de rhétorique employées dans (...) ces textes. (shrink)

Cross-shareholding is a new type of strategic means for capital operation and is an important component of corporate governance. With the increasing complexity of business motivation, the structure of a cross-shareholding network is becoming more intricate, and it exposes various important local patterns with different economic functions. The goal of this paper is to uncover investment mechanisms and economic functions implied in cross-shareholding networks by analyzing the local characteristic patterns of company interactions. In this paper, we construct the CSNs of (...) listed companies and extract the directed triadic motifs to reveal the evolutionary characteristics of local investment patterns at the company and industry levels. On the company level, we find that companies tend to form V-shaped structures with other companies, but bidirectional shareholding patterns and circular relationships in the triads are scarce. On the industry level, we identify the characteristic linking patterns of some industries with a role analysis of the industries. Furthermore, we detect the evolutionary characteristics of industry interrelationships in three implied patterns. Such a motif evolution analysis may provide valuable information for investors and supervisory departments that make decisions about investment portfolios and policy. Meanwhile, this study is also helpful for exploring the implied information in other empirical networks. (shrink)

John Duns Scotus offered an alternative perspective to respect on the mystery of salvation by examining the motive behind the incarnation. Scotus believed that salvation is Christocentric: Motive wise, God incarnate is not primarily anthropocentric, which focuses on the sinfulness of humankind, as traditionally understood in the Catholic Scholastic Theology and taught by Anselm of Canterbury and Thomas Aquinas, but as a total manifestation of His love. Scotus’ Christocentric approach to salvation is in line with his thought on freedom and (...) charity. Scotus believed that God would still have become incarnate even if man had never sinned in the Þ rst place because by taking the form of man, God embodied His love in a total way to His beloved creations.Scotus’ Christocentric salvation is relational because God is involved with the whole creation in person. Consequently, the Cross is not merely the means of redemption, but as manifestation of God’s inÞ nite loveand His self-giving. Through this essay, the author aims to compare those two approaches and to show the unique character of John Duns Scotus’ soteriology. Abstrak Yohanes Duns Scotus menawarkan perspektif alternatif untuk merefleksikan misteri keselamatan dengan mengkaji motif di balik inkarnasi. Dalam refleksi tradisional Teologi Skolastik yang dikembangkan Anselmus Canterbury dan Thomas Aquinas, motif inkarnasi dipahami dalam perspektif antroposentris: keberdosaan manusia menjadi alasan inkarnasi. Bagi Scotus, inkarnasi dan keselamatan bersifat Kristosentris: inkarnasi merupakan manifestasi total kasih Allah. Pendekatan Kristosentris Scotus terkait keselamatan sejalan dengangagasannya tentang kebebasan dan kasih. Scotus percaya bahwa Allah. Kata kunci: Yohanes Duns Scotus, Anselmus Canterbury, Thomas Aquinas, soteriologi, inkarnasi, cinta kasih, kebebasan. (shrink)

This text presents an assessment of the literary work of Karel Čapek from a perspective that has not yet been discussed. It focuses on analysing Čapek’s works from the viewpoint of their possible inspiration by bioethical issues. Čapek’s philosophy and the powerful ethical charge of his texts tend to be associated with his interest in pragmatism, a subject to which he, however, took an individual and critical approach. One of the most important categories of his way of thinking is life. (...) In his prose works and plays we therefore see motifs that may be associated with the thematic definition of bioethics. These are questions concerning the value and quality of human life, issues concerning the dehumanizing impact of science and technology, as well as reflections upon the moral dimension of man’s relationship to nature and also to the relationship between people and animals. Čapek’s work may therefore provide inspiration from the perspective of the history of the gradual formation of the bioethical point of view. (shrink)

L’article constitue un essai de caractéristique du motif cartésien dans la phénoménologie polonaise, dès ses premières réactions jusqu’à ses formulations les plus récentes. Son autre objectif est de présenter les positions, les argumentations et les transformations principales qui, toutes ensemble, forment le motif cartésien. Par « motif cartésien », l’auteur entend un ensemble de questions, de problèmes et de propositions de les résoudre, liés entre eux et se rapportant aux éléments spécifiques des philosophies de Descartes et de Husserl. Cet article, (...) en présentant les penseurs choisis, essaie de cerner de plus près ce qu’est le motif cartésien. Dans ce contexte, il a encore pour objectif de déterminer la direction possible que peut prendre le développement de la phénoménologie non-cartésienne. L’auteur défend la position selon laquelle le cartésianisme de la phénoménologie résulte surtout de la façon dont cette philosophie a été exposée. D’après lui, une application de la méthode phénoménologique avec des visées modérées élargit le champ des recherches phénoménologiques. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and philosophy (...) will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)