Iconographic Features Research Articles

ПРАКТИКА СТРОИТЕЛЬСТВА И ОФОРМЛЕНИЯ ДРЕВНЕЕГИПЕТСКИХ СКАЛЬНЫХ ГРОБНИЦ: ПРИМЕР КОМПЛЕКСА НЕФЕРСЕФЕХПТАХА (LG 79/GE 29) В ГИЗЕ

The rock-cut tomb of Nefersefekhptah (LG 79/GE 29) on the Eastern plateau of the Giza necropolis, like many other tombs at Giza, has traces of incompleteness and reconstruction, which make it difficult to understand the original idea of the builders as well as to determine the typology and time of the construction of the tomb. However, the study of the context of this structure — the cluster of closely adjacent tombs — allows one to find analogies and put forward an assumption about the original intention of the builders. For instance, it seems that, due to a construction error at the initial stage of the construction of the tomb, the builders decided to abandon the idea of making shaft burials in favor of burial niches located on the western wall of the chapel. Based on the presence of construction marks in the shafts of adjacent tombs, the size and location of burial niches, as well as the iconographic features of the reliefs in the chapel, authors assume that the construction of the tomb of Nefersefekhptah took place during the late V dynasty. Paleography of hieroglyphic signs on the reliefs in LG 79/GE 29 suggests that they were made by different craftsmen and, possibly, at different times. The example of the tomb of Nefersefekhptah clearly demonstrates the problems that specialists face when studying the history of individual rock-cut complexes. The making of the rock tomb was a time-consuming project. It’s the implementation reflected social institutions, worldview, and practices of labor control, organization, and payment. The authors argue that the keys to reconstructing the history of specific tombs are stratigraphy (archaeological context), building marks and traces of building phases, paleography, iconography, and statistics on other similar complexes. This, in turn, raises a more global question concerning the tasks of publications of similar monuments.

Mujer y arte en la Real Audiencia de Quito. Una pintura de la Virgen de la Merced en el monasterio de Las Conceptas de Cuenca (Ecuador)

El papel desempeñado por las artistas en la América colonial del siglo XVIII continúa siendo un tema de candente debate y del que falta todavía mucho por investigar. La escasez de oportunidades y los obstáculos encontrados no excluye el camino de algunas de ellas hacia el aprendizaje y posterior desarrollo de la pintura, de modo que, desde su estado laico o religioso, pudieron llegar a alcanzar cierta nombradía. El presente trabajo analiza justamente el panorama suscitado al respecto en la Real Audiencia de Quito a través de una serie de ejemplos, que derivarán en el caso concreto del lienzo de la Virgen de la Merced del Museo de Las Conceptas en Cuenca. Alrededor de la autora, las circunstancias históricas de la obra y sus características estéticas e iconográfícas girará este estudio, con visos de intentar desentrañar diferentes incógnitas.

The “Mouthless People”: Some Remarks on the Shahr Yeri Statue-Stela Complex, Iran

This article proposes a general re-evaluation of the archaeological site of Shahr Yeri, the most striking feature of which is the presence of over five hundred of what we may call statue-stelae. Despite the fact that the site and the statue-stelae have been known since at least 1978 and are of great archaeological interest, they have been relatively little studied in the past. The goal of this paper is to present a general review of the site and the statuestelae identified there, unique both with regard to their number and their iconographic features.

Antakya’dan Bir Mozaik Üzerinde Melek Kanatlı Psykhe

The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself. Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.

The metropolitan samples on the East of Empire: notes about the style of the earliest illuminated Bible (Paris. syr. 341)

The article is devoted to some aspects of the iconographic program (the theme of the pious king, the glorification of the name of Jesus) and artistic features (plasticity of figures, spatiality, coloristic richness) of the Syrian manuscript of the Old and New Testament from the collection of the National Library of France (Paris. syr. 341). The manuscript is long and well known among the researchers because of some of its individual miniatures and iconographic types (the Virgin Nicopeia in the composition of Allegory of Wisdom), stylistic affinity with other manuscripts of Syrian origin (the Gospel of Rabbula, the later inserted miniature of 6th century in the manuscript dated 586). However, the parallels to iconography and style of the miniatures, despite the difference in technology and sizes, can be found in the mosaics of Italy of the same period, from Ravenna to Naples. This similarity allows to assume that patrons and artists of this manuscript were familiar with the capital’s culture and art of the Imperial court, and the time of creation of the manuscript to specify as the middle — the second half of the 6th century.

Studi Ikonografi Arca-Arca Jina Kṛtanāgara

During his lifetime, Kṛtanāgara was ordained into a number of jina statues. Previous scholarly research only focused on the Arca Mahāksobhya/Joko Dolog and the Arca Aksobhya Koleksi Museum Mpu Purwa Nomor Inventaris 89 as a statue of the ordination of Kṛtanāgara, thus closing the possibility of other jina statues. Thus this study aims to discuss the existence of several other statues as Kṛtanāgara jina, as well as the appearance of iconographic features of Buddhist monks in some Kṛtanāgara jina statues. The study began with a collection of physical descriptions through observation and evaluation of jina statues who depict Kṛtanāgara through iconographic rules. The next step is to collect supporting data in the form of ancient manuscripts and literature related to Kṛtanāgara jina. Besides that, also conduct interviews with competent speakers in their fields. The final stage is the analysis and interpretation to obtain a final conclusion. The results obtained are that Kṛtanāgara was ordained as a jina in the form of the Arca Mahāksobhya/Joko Dolog, Reco Lanang, Arca Aksobhya Koleksi Museum Mpu Purwa Nomor Inventaris 89, and Arca Pendeta Buddha Koleksi Museum Nasional Nomor Inventaris 229a. Reco Lanang represents the jina of Dhyānibuddha Kṛtanāgara while the other three statues are depictions of Kṛtanāgara as manusibuddha or highest Buddhist monks.

A Colossal Cult Statue Group from Dobër, Albania: Visual Narratives of East and West in the Countryside of Butrint

A group of three fragmentary marble statues of colossal scale came to light in 1913 on a low hill known as Dober in the countryside of Butrint, Albania. A fourth statue fragment, a veiled female head dated stylistically to the late fourth or third century BCE, now in Ioannina, Greece, was said to have been found in the same area, but new archival research casts doubt on that assertion. In this study, we reassess the technical and iconographic features of these statues. We argue that the group from Dober, which presumably stood inside a temple there, depicts the enthroned Mother of the Gods joined by two standing companions: Attis or a figure from the Trojan saga, such as Askanios, and a fragmentary and unidentifiable male figure. We propose that the group is a visual representation of the well-known literary links between the coast of Butrint and the land of Troy, and further, that it provides testimony for the privileged position that the region had with Rome during the periods of both the Macedonian Wars and the Augustan colonization. As these statues demonstrate, the area of Butrint was a crucial point of encounter between East and West and of cultural mediation for both Greeks and Romans.

Shigir idol: Origin of monumental sculpture and ideas about the ways of preservation of the representational tradition

The article presents some new ideas about the Big Shigir Idol erection, ways of positioning and fixing the wooden sculpture on a Mansy sanctuary in trans-Uralian taiga. According to art study criteria, the Shigir Idol can be referred to monumental sculpture. Its Mesolithic age allows to put it at the beginning of the pre-literate period monumental sculpture range in Eurasian history – sculptures of Yamnaya, Chemurchek and Okunevo cultures, Scythian deer stones and Middle Age stone idols. The Big Shigir Idol's anthropomorphic iconographic characteristics, synthesis with its decorative features demonstrate a fully formed representational tradition. In spite of the idea of Ural Mesolithic Age origin, the author believes that the Shigir Idol's representational tradition could have been formed in the local Taiga environment unlike the art and craft tradition. The discussion concerning the problem of the long existence of this tradition follows the part about the spreading of anthropomorphic representations in cultures of the Neolithic, Bronze and Iron Ages in Northern Europe, the part about the representational traditions trends. As for the problem of Mesolithic representational tradition preservation in wooden sculpture up to modern and contemporary times in modern indigenous peoples in Western Siberia, it is not possible to solve it with archaeological sources yet. The author justifies this idea and suggests an original way to solve it.

Ibex in context: A new insight into the meaning of the ibex depiction in the rock art of Iran based on new findings from Mount Eüji-iti in Central Western Iran

A new concentration of rock art consisting of large number of petroglyphs is situated on the hillside of the Mount Eüji-iti in Kirmanshah in central western Iran. According to the subject-matter, iconographic features, style, and patination of some images, it seems that a part of the petroglyphs could be made in a time-span from Bronze Ages to the Iron Ages in first millennium BCE. The paper attempts to establish a bridge between the rock art and the archaeological context of western Iran. Drawing on archaeological evidence, the paper discusses that, at least, a part of the engravings, particularly ibexes, could possibly be of sacred value to its producers.

Iconography of Sage Narada in Indian Sculptural Art: Regional Variations

Narada is one of the most admired characters in ancient Indian literature and mythology. He has been associated with numerous aspects of Indian life like music, architecture, art, law, justice, storytelling, agriculture and devotion. This versatile and adroit nature of Narada made him very popular among different ethnic, linguistic, religious groups and geographical regions of India. This paper is an attempt to document the sculptural depictions of Narada across the country and to identify and designate its iconographical features. The authors have tried to understand the regional varieties among the sculptural illustrations of Narada. This paper also looks into the symbolism behind the attributes and icons of Narada in view of the regional variations in legends and mythologies.

Chinese Buddhist Sculpture of the Early Period. Iconographic Features

Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.

A Rare Type of Isis Dolente Figurine from the Pushkin State Museum of Fine Arts in Moscow

The collections of the Pushkin State Museum of Fine Arts in Moscow and the Benaki Museum of Athens contain terracotta figurines with unusual iconography. These figures have been interpreted in numerous different ways, and the authors do not think that a completely correct interpretation has yet been found. The ‘problematic’ elements are the pose, gestures and the headdress of the figurines, which resemble both the Isis Dolente type and some depictions of Harpokrates. Perhaps an ancient artisan combined iconographical features of Isis and another deity(-ies) to create these figurines.

The Chthonic Roots of Leonardo da Vinci’s Youthful Iconography

Background: Leonardo da Vinci painted some of the most iconic works of the High Renaissance, and yet some of their iconographic features remain largely unexamined, as do the relevant large-scale conventions of Christian iconography and the Etruscan roots of the Humanist tradition of the period.Problem statement: An unusual feature that is found in most of Leonardo da Vinci’s depictions of the Virgin Mary is a striking yellow or golden sash around her waist. Such a feature is not found in prior depictions of this central figure of Christian iconography, and in only a few of the works of his immediate pupils, and is thus largely unique to Leonardo. As such, it calls for an analytic appraisal of its derivation as a symbolic trope in his youthful works.Proposition: An association with the myth of Persephone is developed on the basis of several features of his ‘Virgin of the Rocks’ in particular, in which a yellow sash is a central motif. This mythic identification in turn helps to account for the substantial deviation of this work from the specification of its original commission into an extreme version of the mountainous setting that is common to most of Leonardo’s established works. The roots of this symbolism are then considered in relation to the Etruscan resonances of the Florentine milieu in which Leonardo matured.

SCULPTURE MASTERPIECES FROM THE SAIVA TEMPLES OF PRACHI VALLEY OF ODISHA IN EASTERN INDIA: STYLE AND ICONOGRAPHY

The region of Prachi Valley is famous for its remarkable antiquities and religious sanctuaries in Odisha of Eastern India. The historians of Odisha had not sufficiently highlighted the Prachi Valley civilization before the independence of India. On the basis of the extant archaeological remains, the Prachi Valley can be considered as an important place of cultural-heritage in Odisha. This valley is a co-ordinating place of many religious sects of India like Buddhism, Jainism, Shaivism, Vaishnavism, Tantricism, Saura, Muslim, etc. as evidenced of the availability of stone images of above sects. Really, the Prachi Valley has produced an excellent trend of sculptural activities in Odisha of Eastern India. A large number of images of various sects noticed in the different shrines of the Prachi Valley. Hence, the region of Prachi Valley is an interesting study for the scholars and art historians. In the present piece of work, the authors are restricted to the sculpture masterpieces from the Saiva temples of Prachi valley of Odisha. All the extant images of Prachi valley are executed by the artists of Klingan School of artists of Eastern India. The rare images noticed from the Saiva temples of Prachi Valley represent the iconographic features of the Odishan classical art of the medieval period. The study of unique sculptures of the Saiva temples of Prachi Valley of Odisha is one of the fascinating aspects of the Kalingan school of art of India. Indeed, the Prachi valley is well known for the place of preservation of masterpiece sculptures of Odisha in Eastern India.

The Use of 3D-Modeling for Reconstructing the Appearance and Function of Non-Utilitarian Items (the Case of Anthropomorphic Figurines from Tourist-2)

This article presents the results of study of an Early Bronze ivory figurine from Tourist-2, using 3D-scanning with various technical parameters. The aim of the study was to test the new non-invasive methods of structured light 3D-scanning, with an accurate assessment of morphometric characteristics. In addition, use-wear analysis was employed to evaluate the previously unknown features relating to function. As a result, the original appearance of the figurine, the manufacturing technique, and iconographic characteristics were reconstructed. A series of transverse sections and the evaluation of the center of mass, combined with previously known features, suggest that the figurine was a personal ornament sewn onto clothing. For comparison, two flat anthropomorphic sculptures (a buckle made of burl, and a shale figurine) from the same burial complex were analyzed. Longitudinal sections suggest that, despite morphological and technological differences and the fact that various raw materials had been used, the iconographic style of all items is one and the same.

Dve bronzovye kadil'nicy iz Nacional'nogo muzeja Gruzii

The present paper examines two bronze censers with Christological relief compositions from the Georgian National Museum. The analyses of their stylistic and iconographic features shed more light on the dissemination of the bronze censers produced in the East Christian artistic centers. The paper attempts to determine the time and place of creation of these liturgical objects. I will also offer some observations concerning the relationship between metal incense burners of Syro-Palestinian origin and those made in different places throughout Christendom.

Canvas icons ‟Moses sets Passover for the Jewsˮ and the ‟The Seventh Plague of Egyptˮ of the middle of the XIX century from the church in Nadrichne village in Berezhany district: iconography and attribution

The iconographic features of canvas icons ‟Moses sets Passover for the Jewsˮ and the ‟The Seventh Plague of Egyptˮ of the middle of the XIX century from Eastern Opillia are analyzed, as well as the tendencies of painting of that time are traced. It is noted that in the Ukrainian icon painting, a separate group is the Old Testament plots. It is approved that these plots include compositions depicting events from the books of the Old Testament, one of which is Exodus, which is part of the Pentateuch of Moses, who is one of the important figures in the history of mankind . It is noticed that the events of Moses’ life and actions are described in the book of Exodus, which is reflected in the compositions ‟Moses sets Passover for the Jewsˮ and the ‟Seventh Plague of Egyptˮ. It is assured that these icons are unique works of this subject in the iconography of Eastern Opillia of the middle of the XIX century and they are first introduced into scientific circulation.It is stated that these compositions are an interesting and extraordinary example of the iconic subject not widespread at the time, in particular, they are multifaceted and have a large number of individuals who are thematically related to each other: they depict scenes of the Exodus of Israeli people from captivity. It is considered that the icons on the canvas were drawn by a well-aware iconographer, who was also probably familiar with the texts of Erminia, with contemporary graphic and icon-painting works of art, because the compositions were made in line with the iconic tendencies of the middle of the XIX century of Eastern Opillia. By the author’s manner and the formal analysis the icons are attributed to the iconostasis master of 1853 of the Church of the Transfiguration of the Lord in Pidhiria village in Zolochiv region. It is also claimed that both compositions not only illustrate the Bible texts but also contain all the necessary symbolism.The conclusions stated that further prospects for the study are the discovery, grouping, and analysis of memorials with scenes of the life and work of the Prophet Moses in Ukrainian sacred art.Keywords: iconography, Prophet Moses, icon, artistic features, plot, the manner of drawing

Transformation of the Nemanichi’s ideology in the monuments of the Milutin era (1282–1321) in the conquered Macedonian territories

This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one.The process of «byzantinization» affects all the areas of the life of the Serbian kingdom, including art. Establishing his presence in Macedonia, Milutin, with the help of the Greek masters, actively builds and restores churches, rebuilds the Greek buildings and invites the Greek artists, Michael and Eutychios, belonging to the progressive artistic movement to paint churches. Thus, the architectural and pictorial ensembles of this time arise within the framework of the Byzantine artistic tradition and correspond to the main currents of the Byzantine art. Fresco paintings are created in accordance with the stylistic principles of the advanced trends of the Paleologian Renaissance and are replete with fresh iconographic solutions, new semantic accents and compositions. Good preservation of the most of Milutin’s monuments ensured close attention of the researchers. However, with a thorough study of the Byzantine traditions in the Serbian cultural paradigm, the fact of embedding national specifics into the Byzantine imperial theme remained unnoticed, as evidenced by a number of the iconographic features of the monumental paintings considered in this article.Keywords: imperial theme, iconography, medieval fresco painting, national specifics, Milutin, ideology of Nemanichi, Macedonia, Serbian Kingdom, art, cultural studies, cultura of Medieval Ages.

Предметы сейминско-турбинского металлического комплекса с Нижней Пышмы

Purpose. This article examines the collection of recently discovered items from lower Pyshma River (Tyumen region, Tyumen district), belonging to the Seima-Turbino time, which to be found on the territory of Eurasia is rather a rare archaeological phenomenon. Results. The researchers identified a set of items encompassing bronze objects – spears, knives, celts, an ice pick and mask. This composition of items entirely reflects a standard set of artifacts belonging to the Seima-Turbino time. Furthermore, this set of items is obviously close to religious collections (Galichsky Klad), which contained anthropomorphic metal objects. Of special interest in the collection is a metal mask with a protruding nose made of bronze plates. The sharp angled upper and lower parts of the face are considered to be its culturally determining signs. The shape and appearance of the top of the head may well be classified as headgear characteristic of the Samus’sko-Seima time. Such tight-fitting hats are typical of various samples of anthropomorphic plastic art in the south of Western Siberia. The iconographic features of this toreutics item belonging to the Bronze Age largely encapsulates peculiarities of similar-purpose images that existed in the forest territories of Western Siberia up until the Middle Ages. Conclusion. It is important to emphasize that this collection presents great significance in terms of studying non-ferrous processing technologies. Overall, the discovered items can be considered as both a set of tools, and as part of cult paraphernalia and the transcultural phenomenon of Middle bronze Age, especially in connection with the discovered bronze mask.

Harpocrates with a Pot: Egyptian Terracotta Figurines of Graeco-Roman Period from the Collection of the Pushkin State Museum of Fine Arts

The article publishes and analyzes seven Egyptian Greek-Roman terracotta figurines depicting a child with a spherical vessel (pot) in his hands and representing Harpocrates – the child-god, the Greek version of the child-Horus. His figurines were made often in the form of a naked baby with a finger at his mouth and with a characteristic attribute – a “lock of youth” – on the side, often in Egyptian crown. Similar images are just one of the options of the iconography of Harpocrates. In the museum collections around the world there are significant number of terracottas depicting Harpocrates, not only with a pot, but also with cornucopia, and other attributes that demonstrate a wide range of iconographic features inherent in the images of the deities of the Egyptian pantheon of the Greek-Roman Period. All the items mentioned in the article are kept in the storerooms of the Department of Ancient Orient at the Pushkin State Museum of Fine Arts (Moscow). Six objects come from the collection of Vladimir S. Golenishchev and entered the museum in 1911; one figurine was purchased in 1981 from the collector N. G. Ter-Mikaeljan. The majority of the terracotta figurines have not been published earlier. They allow us to address the features of Harpocrates’ iconography as a god-child, the themes of child deities in Ancient Egypt and the problem of coexistence of a popular religion with the official temple cults of Egypt in Ptolemaic and Roman Periods.