The study aims to present legal aspects of the medieval and premodern history of Rășinari, the greatest pastoral village in Mărginimea Sibiului (lying at the foot of the Southern Carpathians), whose inhabitants (mărgineni) were considered the richest Romanian transhumant shepherds. Based on methods pertaining to Cyrillic and Latin palaeography, ecdotics, and legal history, we analyse precious documents discovered in the Church Museum of Rășinari, contained in the 18th century Orthodox Bishops’ House: 1. the extract of a deed of donation made in 1383 by Voivode Radu Negru to the Saint Paraschiva Church in Rășinari; 2. the Book of village boundaries of 1488, describing a perambulation for the separation of boundaries between the Romanian village and the Saxon one of Cisnădie; 3. the manuscript volume Transmissionales in causa Possessionis Resinar contra Liberam Regiamque Civitatem Cibiniensem 1784 (1,318 pages), a veritable legal mirror reflecting juridical relations, procedures and lawsuits specific to South Transylvania under Habsburg suzerainty. The examination of the medieval Cyrillic-Romanian documents’ variants, late copies and even 18th century Latin translations highlights the conclusion regarding the special historical, linguistic and legal value of the treasures hidden in the Bishops’ House of Rășinari.
该研究旨在展示Rășinari中世纪和前现代历史的法律方面，该村庄是Sibiului(位于南喀尔巴阡山脉脚下)最大的田园村庄，其居民(m里吉尼)被认为是罗马尼亚最富有的牧民。基于西里尔语和拉丁语古文献学、经济学和法律史的相关方法，我们分析了在Rășinari教堂博物馆发现的珍贵文件，这些文件包含在18世纪的东正教主教之家:1。1383年，Voivode Radu Negru向圣帕拉斯奇瓦教堂(Rășinari)捐赠的契据摘录;2. 1488年的村庄边界书，描述了罗马尼亚村庄和撒克逊村庄之间边界分离的漫步;3.。1784年(1318页)的手稿卷，是反映哈布斯堡宗主权下南特兰西瓦尼亚特有的司法关系、程序和诉讼的真正法律镜子。对中世纪西里尔-罗马尼亚文件的变体、后期副本甚至18世纪拉丁语翻译的研究，突出了关于隐藏在Rășinari主教之家的宝藏的特殊历史、语言和法律价值的结论。
{"title":"The Bishops’ House in the Romanian Pastoral Village of Rășinari (Mărginimea Sibiului) and its Hidden Treasures: A Short Legal History of the Book of Village Boundaries and the Deed of Donation (1488, 1383) and Transmissionales in causa Possessionis Resinar contra Liberam Regiamque Civitatem Cibiniensem (1784)","authors":"Ela Cosma","doi":"10.5209/eiko.81756","DOIUrl":"https://doi.org/10.5209/eiko.81756","url":null,"abstract":"The study aims to present legal aspects of the medieval and premodern history of Rășinari, the greatest pastoral village in Mărginimea Sibiului (lying at the foot of the Southern Carpathians), whose inhabitants (mărgineni) were considered the richest Romanian transhumant shepherds. Based on methods pertaining to Cyrillic and Latin palaeography, ecdotics, and legal history, we analyse precious documents discovered in the Church Museum of Rășinari, contained in the 18th century Orthodox Bishops’ House: 1. the extract of a deed of donation made in 1383 by Voivode Radu Negru to the Saint Paraschiva Church in Rășinari; 2. the Book of village boundaries of 1488, describing a perambulation for the separation of boundaries between the Romanian village and the Saxon one of Cisnădie; 3. the manuscript volume Transmissionales in causa Possessionis Resinar contra Liberam Regiamque Civitatem Cibiniensem 1784 (1,318 pages), a veritable legal mirror reflecting juridical relations, procedures and lawsuits specific to South Transylvania under Habsburg suzerainty. The examination of the medieval Cyrillic-Romanian documents’ variants, late copies and even 18th century Latin translations highlights the conclusion regarding the special historical, linguistic and legal value of the treasures hidden in the Bishops’ House of Rășinari.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135743520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Neils, Jenifer, y Olga Palagia, eds. From Kallias to Kritias. Art in Athens in the Second Half of the Fifth Century B.C. Berlin: De Gruyter, 2022 [ISBN 978-3-11-068092-8]","authors":"Javier Simón Cuesta","doi":"10.5209/eiko.84019","DOIUrl":"https://doi.org/10.5209/eiko.84019","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82902294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El arte de Amarna presenta unas características y particularidades inéditas en la cultura egipcia. La reina Nefertiti desempeña un papel fundamental en la iconografía amarniense. Ninguna otra reina aparece representada con tanta frecuencia y es apreciable cómo su figura evoluciona a lo largo del reinado de Akhenaton, hasta romper ciertos cánones históricamente establecidos para la realeza egipcia. Uno de los atributos de la realeza más significativo y emblemático es la corona, ornamento de dioses y reyes. La revisión de la iconografía, siguiendo una línea temporal y el análisis de las distintas coronas que porta la reina a lo largo del periodo de Amarna, constituyen un indicador de la importancia que va adquiriendo el personaje, así como una línea de investigación para tratar de determinar el poder que ostenta en cada uno de esos momentos.
{"title":"Iconos del arte egipcio: coronas y tocados de la realeza femenina en la iconografía de Amarna","authors":"Belén Del Barrio Madruga","doi":"10.5209/eiko.81750","DOIUrl":"https://doi.org/10.5209/eiko.81750","url":null,"abstract":"El arte de Amarna presenta unas características y particularidades inéditas en la cultura egipcia. La reina Nefertiti desempeña un papel fundamental en la iconografía amarniense. Ninguna otra reina aparece representada con tanta frecuencia y es apreciable cómo su figura evoluciona a lo largo del reinado de Akhenaton, hasta romper ciertos cánones históricamente establecidos para la realeza egipcia. \u0000Uno de los atributos de la realeza más significativo y emblemático es la corona, ornamento de dioses y reyes. La revisión de la iconografía, siguiendo una línea temporal y el análisis de las distintas coronas que porta la reina a lo largo del periodo de Amarna, constituyen un indicador de la importancia que va adquiriendo el personaje, así como una línea de investigación para tratar de determinar el poder que ostenta en cada uno de esos momentos. ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91113672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este texto aborda el tema artístico de la mujer como encarnación de la muerte a través del motivo del cadáver femenino en la película La autopsia de Jane Doe (The Autopsy of Jane Doe, André Øvredal, 2016). La construcción del personaje de la mujer muerta se apoya en el estereotipo de la mujer fatal, entroncando con iconografías misóginas que demonizan la sexualidad femenina mediante el vínculo entre maldad y carnalidad. En el análisis iconográfico se analizan críticamente desde un enfoque feminista productos culturales que encuentran su razón de ser en una condición generizada de la maldad, tomando conciencia de la ideología que los impregna. La belleza es concebida como trampa o artificio, relacionando el cuerpo femenino con la tentación, el peligro, la muerte y la corrupción. Bajo la cobertura de una narración fantástica, se actualizan viejos clichés moralistas que reposan sobre definiciones estéticas de la belleza/fealdad cargadas de implicaciones patriarcales.
这个女人作为艺术处理这个问题的案文体现女性死亡通过尸体的原因在这部电影验尸Jane Doe (The Autopsy of andre Jane DoeØvredal, 2016)。死去的女人的角色构建依赖于对致命女人的刻板印象，与通过邪恶和肉欲之间的联系妖魔化女性性行为的厌女肖像交织在一起。在图像分析中，女性主义的方法对文化产品进行了批判性的分析，这些文化产品在一种普遍的邪恶状态下找到了存在的理由，意识到渗透在它们中的意识形态。美被认为是一种陷阱或诡计，将女性的身体与诱惑、危险、死亡和腐败联系起来。在奇幻叙事的掩护下，旧的道德cliches被更新，这些cliches依赖于美/丑的美学定义，充满了父权的含义。
{"title":"Mujer (fatal), carnalidad y muerte: tratamiento iconográfico del cadáver femenino en La autopsia de Jane Doe (2016)","authors":"M.ª Dolores Clemente Fernández","doi":"10.5209/eiko.84095","DOIUrl":"https://doi.org/10.5209/eiko.84095","url":null,"abstract":"Este texto aborda el tema artístico de la mujer como encarnación de la muerte a través del motivo del cadáver femenino en la película La autopsia de Jane Doe (The Autopsy of Jane Doe, André Øvredal, 2016). La construcción del personaje de la mujer muerta se apoya en el estereotipo de la mujer fatal, entroncando con iconografías misóginas que demonizan la sexualidad femenina mediante el vínculo entre maldad y carnalidad. En el análisis iconográfico se analizan críticamente desde un enfoque feminista productos culturales que encuentran su razón de ser en una condición generizada de la maldad, tomando conciencia de la ideología que los impregna. La belleza es concebida como trampa o artificio, relacionando el cuerpo femenino con la tentación, el peligro, la muerte y la corrupción. Bajo la cobertura de una narración fantástica, se actualizan viejos clichés moralistas que reposan sobre definiciones estéticas de la belleza/fealdad cargadas de implicaciones patriarcales.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90167705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Editorial introduction to “Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th)”. The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies.
{"title":"Imago, ius, religio. Religious Images in Medieval Legal Manuscripts: An Overview","authors":"Maria Alessandra Bilotta, Gianluca Del Monaco","doi":"10.5209/eiko.85807","DOIUrl":"https://doi.org/10.5209/eiko.85807","url":null,"abstract":" Editorial introduction to “Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th)”. The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76776067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Skovmøller, Amalie. Facing the Colours of Roman Portraiture. Berlín: De Gruyter, 2020 [ISBN: 978-3-11-056366-5]","authors":"Miguel Lahuerta Berazaluce","doi":"10.5209/eiko.80902","DOIUrl":"https://doi.org/10.5209/eiko.80902","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90754502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.
{"title":"‘Emptiness’ and ‘Nothingness’ as Key Elements to Conveying and Understanding Meaning in Japanese Calligraphy","authors":"Ioana-Ciliana Tudorică","doi":"10.5209/eiko.81715","DOIUrl":"https://doi.org/10.5209/eiko.81715","url":null,"abstract":"The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73607605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reseña de la obra de Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]
{"title":"Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]","authors":"Borja Franco Llopis","doi":"10.5209/eiko.77620","DOIUrl":"https://doi.org/10.5209/eiko.77620","url":null,"abstract":"Reseña de la obra de Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75310189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings. Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers.
{"title":"Mother of Dragons","authors":"Sharon Khalifa-Gueta","doi":"10.5209/eiko.76756","DOIUrl":"https://doi.org/10.5209/eiko.76756","url":null,"abstract":"Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings. \u0000Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers. \u0000 ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87057539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Proponiamo alcune considerazioni sul tema della memoria attraverso passi scelti delle Verrine di Cicerone, che rappresentano, accanto alle fonti archeologiche, una testimonianza fondamentale per lo studio della Sicilia di età tardorepubblicana. Le opere d’arte siracusane facenti parte del bottino di Marcello sono all’origine di una vera e propria svolta nel gusto dei Romani, attratti per la prima volta dal fascino irresistibile dell’arte greca. La dispersione delle opere determinata dal fenomeno dilagante del collezionismo privato e dai furti di Verre innesca un processo distruttivo della memoria identitaria, ancorata alle immagini, indissolubilmente legate al loro contesto di appartenenza. La lettura delle Verrine, e del De signis in particolare, offre spunti attuali di riflessione, specie riguardo alla piaga del commercio clandestino delle opere d’arte.
{"title":"Nunc quid undique ablatum sit ostendunt (Cic. Verr., 2, 4, 132). Immagini e memoria nelle Verrine di Cicerone","authors":"Valentina Caminneci","doi":"10.5209/eiko.77828","DOIUrl":"https://doi.org/10.5209/eiko.77828","url":null,"abstract":"Proponiamo alcune considerazioni sul tema della memoria attraverso passi scelti delle Verrine di Cicerone, che rappresentano, accanto alle fonti archeologiche, una testimonianza fondamentale per lo studio della Sicilia di età tardorepubblicana. \u0000Le opere d’arte siracusane facenti parte del bottino di Marcello sono all’origine di una vera e propria svolta nel gusto dei Romani, attratti per la prima volta dal fascino irresistibile dell’arte greca. La dispersione delle opere determinata dal fenomeno dilagante del collezionismo privato e dai furti di Verre innesca un processo distruttivo della memoria identitaria, ancorata alle immagini, indissolubilmente legate al loro contesto di appartenenza. \u0000La lettura delle Verrine, e del De signis in particolare, offre spunti attuali di riflessione, specie riguardo alla piaga del commercio clandestino delle opere d’arte.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82902566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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