Muu dancers are one of the most common elements in the funerary processions represented in the private Theban tombs of the New Kingdom, especially in the 18th dynasty. This paper aims to analyse the main characteristics of the representation of these male individuals that appear only on private tombs located in different necropolises. It will also try to understand the ritual meaning of these dancers through the attested images, an enigmatic procedure that has been interpreted in different ways by several authors. In addition, the distribution of these scenes both inside and outside the Theban necropolis will be analysed to understand the diffusion of this type of representations during the Egyptian New Kingdom. Thus, firstly I will make a description of the funerary processions painted or engraved on the walls of the private tombs. Secondly, I will describe the muu dancers following Brunner-Traut’s classification and include the representations attested, comparing them to analyse the common features of these male dancers.
{"title":"Dancing for the Dead: muu Dancers in Egyptian New Kingdom Scenes","authors":"Miriam Bueno Guardia","doi":"10.5209/eiko.78355","DOIUrl":"https://doi.org/10.5209/eiko.78355","url":null,"abstract":"Muu dancers are one of the most common elements in the funerary processions represented in the private Theban tombs of the New Kingdom, especially in the 18th dynasty. This paper aims to analyse the main characteristics of the representation of these male individuals that appear only on private tombs located in different necropolises. It will also try to understand the ritual meaning of these dancers through the attested images, an enigmatic procedure that has been interpreted in different ways by several authors. In addition, the distribution of these scenes both inside and outside the Theban necropolis will be analysed to understand the diffusion of this type of representations during the Egyptian New Kingdom. \u0000Thus, firstly I will make a description of the funerary processions painted or engraved on the walls of the private tombs. Secondly, I will describe the muu dancers following Brunner-Traut’s classification and include the representations attested, comparing them to analyse the common features of these male dancers.","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":"87980463","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}
Las fuentes escritas sobre Thánatos en la Antigüedad Clásica van más allá de la visión que Hesíodo, Homero y los poetas trágicos materializaron en sus escritos. El presente artículo analiza los testimonios literarios que se conocen acerca de los santuarios donde se daba culto a Thánatos (el oráculo necromante del río Arqueronte y Gadira), las oraciones que a él se dedicaban (el himno Órfico) y las escasas imágenes de culto que de él se conocen (el Thánatos del Museo de Atenas, el del Museo Vaticano y el Grupo de San Ildefonso del Museo del Prado). Se analizan también las fuentes escritas latinas (Séneca, Virgilio, Lucano…) y el problema que supone la asimilación de un sustantivo de género femenino, Mors, con una divinidad de género masculino. Si en la iconografía griega la imagen más consagrada de Thánatos le muestra trasladando el cadáver de Sarpedón junto a su hermano, en la iconografía romana la imagen prototípica es el Eros-Thánatos, vinculado a la antorcha extinguiendo su llama como atributo. El presente artículo profundiza en algunos aspectos concretos de la mentalidad macabra de las élites grecolatinas, que percibían la muerte con un sentido heroico y profundamente aristocrático, bien distinto del punto de vista defendido por los hedonistas, que percibían la muerte como única entidad igualadora de la sociedad.
在古典时期，关于塔那托斯的书面资料超越了赫西奥德、荷马和悲剧诗人在他们的作品中所体现的观点。已知的文学分析证词本条关于邪教的庇护所而关上了门河Thánatos(甲骨文necromante Arqueronte Gadira),祷告和他从事(Órfico国歌)和有限的镜头崇拜他,已知(Thánatos雅典,梵蒂冈博物馆和博物馆Museo del Prado) San Ildefonso小组。本文还分析了拉丁书面资料(seneca, Virgilio, Lucano…)，以及将女性名词Mors同化为男性神的问题。在希腊肖像学中，最神圣的塔那托斯将萨庇顿的尸体和他的兄弟一起搬运，而在罗马肖像学中，典型的形象是厄洛斯-塔那托斯，他被绑在火把上熄灭火焰作为属性。这篇文章深入探讨了希腊-拉丁精英的恐怖心态的一些具体方面，他们以一种英雄的、深刻的贵族意识来看待死亡，这与享乐主义者所捍卫的观点截然不同，享乐主义者认为死亡是社会中唯一平等的实体。
{"title":"La imagen deificada de Thánatos, el dios de la Muerte, y su proyección iconográfica en el mundo latino a través del Eros-Thánatos","authors":"Herbert González Zymla","doi":"10.5209/eiko.77625","DOIUrl":"https://doi.org/10.5209/eiko.77625","url":null,"abstract":"Las fuentes escritas sobre Thánatos en la Antigüedad Clásica van más allá de la visión que Hesíodo, Homero y los poetas trágicos materializaron en sus escritos. El presente artículo analiza los testimonios literarios que se conocen acerca de los santuarios donde se daba culto a Thánatos (el oráculo necromante del río Arqueronte y Gadira), las oraciones que a él se dedicaban (el himno Órfico) y las escasas imágenes de culto que de él se conocen (el Thánatos del Museo de Atenas, el del Museo Vaticano y el Grupo de San Ildefonso del Museo del Prado). Se analizan también las fuentes escritas latinas (Séneca, Virgilio, Lucano…) y el problema que supone la asimilación de un sustantivo de género femenino, Mors, con una divinidad de género masculino. Si en la iconografía griega la imagen más consagrada de Thánatos le muestra trasladando el cadáver de Sarpedón junto a su hermano, en la iconografía romana la imagen prototípica es el Eros-Thánatos, vinculado a la antorcha extinguiendo su llama como atributo. El presente artículo profundiza en algunos aspectos concretos de la mentalidad macabra de las élites grecolatinas, que percibían la muerte con un sentido heroico y profundamente aristocrático, bien distinto del punto de vista defendido por los hedonistas, que percibían la muerte como única entidad igualadora de la sociedad.","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":"90436097","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}
Nel presente lavoro viene analizzato il sogno di Chopin raccontato da George Sand nell'ultimo volume di Histoire de ma vie, dal punto di vista della produzione letteraria dello scrittore, e includendo il contesto artistico-letterario del tempo in cui furono modificato i loro ricordi. Nell'analisi generale della sua opera di lei suscita una ricorrenza di motivi topici; Tra tutti, il Tema della morte per acqua compare dalle sue prime alle ultime produzioni, compresa la narrazione su Chopin, e segnando coincidenze estetiche con alcuni dipinti dell'epoca (in particolare con l'Ofelia di Millais, nel corpo immerso nell'acqua e nel condizione di pre-morte). Tenendo conto dell'intenso impatto che avranno gli scritti di George Sand sulla ricezione dell'immagine del compositore, questo articolo esamina alcuni aspetti che accompagneranno la rappresentazione pittorica e letteraria di Fryderyk Chopin e ipotizza che sul racconto del sogno chopiniano pesino più accorgimenti poetici che una totale aderenza alla realtà dei fatti.
在这本书中，乔治·桑德(George Sand)在《马维历史》(Histoire de ma vie)的最后一卷中，从作者的文学作品的角度，分析了肖邦的梦想，并从他们的记忆发生变化时的艺术文学背景。在对你的工作的一般分析中，你提出了一些局部的理由。其中，“死于水”的主题从它的第一部作品到最新的作品，包括肖邦的小说，并与当时的一些绘画(尤其是米勒斯的奥菲利亚，在水中和濒死状态中)有着美学上的联系。密集影响,将考虑到收到的书面布什(George Sand作曲家的形象,这篇文章探讨了一些与肖邦的pittorica和文学表示,假设梦想更如诗意chopiniano沉重的故事,完全符合实际情况。
{"title":"Il sogno di Chopin nell’autobiografia di George Sand","authors":"Tiziana Palandrani","doi":"10.5209/eiko.77627","DOIUrl":"https://doi.org/10.5209/eiko.77627","url":null,"abstract":"Nel presente lavoro viene analizzato il sogno di Chopin raccontato da George Sand nell'ultimo volume di Histoire de ma vie, dal punto di vista della produzione letteraria dello scrittore, e includendo il contesto artistico-letterario del tempo in cui furono modificato i loro ricordi. Nell'analisi generale della sua opera di lei suscita una ricorrenza di motivi topici; Tra tutti, il Tema della morte per acqua compare dalle sue prime alle ultime produzioni, compresa la narrazione su Chopin, e segnando coincidenze estetiche con alcuni dipinti dell'epoca (in particolare con l'Ofelia di Millais, nel corpo immerso nell'acqua e nel condizione di pre-morte). \u0000Tenendo conto dell'intenso impatto che avranno gli scritti di George Sand sulla ricezione dell'immagine del compositore, questo articolo esamina alcuni aspetti che accompagneranno la rappresentazione pittorica e letteraria di Fryderyk Chopin e ipotizza che sul racconto del sogno chopiniano pesino più accorgimenti poetici che una totale aderenza alla realtà dei fatti.","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":"90415682","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}
Un palimpsesto se refiere a toda obra que ha sido reescrita y que, por ende, expresa una superposición de acontecimientos. El juguete de madera toma cuerpo a partir de la carne del árbol, dotándola de un segundo “acontecer”, no ya natural o biológico sino simbólico. Respaldados por materiales arqueológicos, fuentes iconográficas y literarias, ahondaremos en cómo el artesano —anónimo hacedor alejado de las luminarias de la historia del arte— torna la madera en imagen, haciéndola objeto de comunicación al servicio de los más diversos imaginarios de niños y adultos. Asimismo, nos esforzaremos en vincular la historia de los juguetes de madera con el descubrimiento del torno a pedal en el siglo XII y la introducción de los mecanismos hidráulicos en el siglo XVI, que permitieron liberar las manos del artífice y afinar el acabado de las piezas. Presente en las tumbas infantiles del Egipto copto, esta “escultura mínima” se introdujo en la vida cotidiana de las principales culturas mediterráneas y continentales, sobreviviendo incluso a la actual Aldea Global del plástico. Yoyos y peonzas de madera, animales sobre ruedas y caballitos de palo, muñecas y balancines nos conducirán asimismo por el animismo de los pueblos antiguos, la literatura cristiana, substratos de los cuentos populares modernos.
{"title":"Juguetes de madera o el palimpsesto del árbol: vasos mitopoiéticos en las culturas del Mediterráneo antiguo","authors":"Oriol Vaz-Romero Trueba","doi":"10.5209/eiko.78015","DOIUrl":"https://doi.org/10.5209/eiko.78015","url":null,"abstract":"Un palimpsesto se refiere a toda obra que ha sido reescrita y que, por ende, expresa una superposición de acontecimientos. El juguete de madera toma cuerpo a partir de la carne del árbol, dotándola de un segundo “acontecer”, no ya natural o biológico sino simbólico. Respaldados por materiales arqueológicos, fuentes iconográficas y literarias, ahondaremos en cómo el artesano —anónimo hacedor alejado de las luminarias de la historia del arte— torna la madera en imagen, haciéndola objeto de comunicación al servicio de los más diversos imaginarios de niños y adultos. Asimismo, nos esforzaremos en vincular la historia de los juguetes de madera con el descubrimiento del torno a pedal en el siglo XII y la introducción de los mecanismos hidráulicos en el siglo XVI, que permitieron liberar las manos del artífice y afinar el acabado de las piezas. Presente en las tumbas infantiles del Egipto copto, esta “escultura mínima” se introdujo en la vida cotidiana de las principales culturas mediterráneas y continentales, sobreviviendo incluso a la actual Aldea Global del plástico. Yoyos y peonzas de madera, animales sobre ruedas y caballitos de palo, muñecas y balancines nos conducirán asimismo por el animismo de los pueblos antiguos, la literatura cristiana, substratos de los cuentos populares modernos.","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":"81040737","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 present study aims to underline the particularities found in the Banat by means of reinterpreting some of the main creations of Central-European late Baroque, where the illusion of the Habsburg power and allegories of Catholic faith were employed in the unifying artistic discourse. The main methods used range from comparative-historical to iconographic, with a structural-semantic and formal analysis of the works presented as case studies. The epideictic rhetoric of these examples contributes to a better acknowledgement of the role played by art in every society, having in mind that the eighteenth-century artistic phenomenon was synergic with the Central-European evolution and the style was tributary to the late Baroque, one of the many variants with particularities of the so-called “Baroques”.
{"title":"Illusion and Allegory in the Baroque Art of the Banat: An Introduction","authors":"Mihaela Vlăsceanu","doi":"10.5209/eiko.76757","DOIUrl":"https://doi.org/10.5209/eiko.76757","url":null,"abstract":"The present study aims to underline the particularities found in the Banat by means of reinterpreting some of the main creations of Central-European late Baroque, where the illusion of the Habsburg power and allegories of Catholic faith were employed in the unifying artistic discourse. The main methods used range from comparative-historical to iconographic, with a structural-semantic and formal analysis of the works presented as case studies. The epideictic rhetoric of these examples contributes to a better acknowledgement of the role played by art in every society, having in mind that the eighteenth-century artistic phenomenon was synergic with the Central-European evolution and the style was tributary to the late Baroque, one of the many variants with particularities of the so-called “Baroques”.","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":"79331213","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 paper deals with one famous plot on Ukrainian rushnyks. This is about a scene of beating a man by his wife and the appropriate inscription to it “A woman was beating a man taking him by the forelock”. Notwithstanding the fact that nowadays it is mostly perceived as a humorous scene, the meaning of it may vary up to the sacred one. Is it connected with the fact that Ukrainian rushnyks had been regarded as things of particular significance? The author traces the roots of this embroidered plot in popular culture, showing changing of senses according to the context. Oral culture (folk humorous and dancing songs, narratives, sayings), lubok literature and fictions, Ethnographical features of Ukrainian married men and women are taken into consideration. Also, the issue of renewing the old jokes is considered. When the comic scene became irrelevant or not enough humorous, embroideresses combined it with other scenes to make it more ridiculous. The author concludes that absolutely all folk meanings of one and the same plot have right to exist.
{"title":"‘A Woman Was Beating a Man Taking Him by the Forelock’: How a Sacred Thing Became a Comical in Ukraine","authors":"Tetiana M. Brovarets","doi":"10.5209/eiko.76770","DOIUrl":"https://doi.org/10.5209/eiko.76770","url":null,"abstract":"The paper deals with one famous plot on Ukrainian rushnyks. This is about a scene of beating a man by his wife and the appropriate inscription to it “A woman was beating a man taking him by the forelock”. Notwithstanding the fact that nowadays it is mostly perceived as a humorous scene, the meaning of it may vary up to the sacred one. Is it connected with the fact that Ukrainian rushnyks had been regarded as things of particular significance? The author traces the roots of this embroidered plot in popular culture, showing changing of senses according to the context. \u0000Oral culture (folk humorous and dancing songs, narratives, sayings), lubok literature and fictions, Ethnographical features of Ukrainian married men and women are taken into consideration. Also, the issue of renewing the old jokes is considered. When the comic scene became irrelevant or not enough humorous, embroideresses combined it with other scenes to make it more ridiculous. The author concludes that absolutely all folk meanings of one and the same plot have right to exist. ","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":"85677626","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}
Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to "popular" culture.
{"title":"Reused From Banquet to Grave: Gold Glass, a “Popular” Medium in Late Antiquity?","authors":"C. Croci","doi":"10.5209/eiko.78845","DOIUrl":"https://doi.org/10.5209/eiko.78845","url":null,"abstract":"Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to \"popular\" culture.","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":"88353634","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}
This paper proposes a novel source for –or at least influence on– the iconography of the Moon trump in the Rider-Waite Tarot deck, which preserves the design from the Tarot de Marseille. In fact, the Moon template appears to date back to the earliest days of the Tarot. The proposed source or prototype is a Greco-Roman talismanic design against the Evil Eye known as the “all-suffering eye”, which frequently occupies the reverse face of Byzantine copper/ bronze “Holy Rider” amulets. The paper identifies compositional elements that correspond in the Evil Eye and Moon card designs, presents reasons why the moon and the Evil Eye might have been thought of as cognates, and considers other likely inputs into the Moon card’s visual program.
{"title":"The Moon card of the Tarot deck may reprise an ancient amuletic design against the Evil Eye","authors":"L. Graham","doi":"10.5209/eiko.77344","DOIUrl":"https://doi.org/10.5209/eiko.77344","url":null,"abstract":"This paper proposes a novel source for –or at least influence on– the iconography of the Moon trump in the Rider-Waite Tarot deck, which preserves the design from the Tarot de Marseille. In fact, the Moon template appears to date back to the earliest days of the Tarot. The proposed source or prototype is a Greco-Roman talismanic design against the Evil Eye known as the “all-suffering eye”, which frequently occupies the reverse face of Byzantine copper/ bronze “Holy Rider” amulets. The paper identifies compositional elements that correspond in the Evil Eye and Moon card designs, presents reasons why the moon and the Evil Eye might have been thought of as cognates, and considers other likely inputs into the Moon card’s visual program.","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":"91326658","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 Bayón, Fernando y Jaime Cuenca, eds. Públicos en transformación. Una visión interdisciplinar de las funciones, experiencias y espacios del público actual de los museos. Madrid: Editorial Dykinson, 2020 [ISBN: 978-84-1324-533-1]
{"title":"Bayón Fernando y Jaime Cuenca, eds. Públicos en transformación. Una visión interdisciplinar de las funciones, experiencias y espacios del público actual de los museos. Madrid: Editorial Dykinson, 2020 [ISBN: 978-84-1324-533-1]","authors":"Iñigo Ayala Aizpuru","doi":"10.5209/eiko.78011","DOIUrl":"https://doi.org/10.5209/eiko.78011","url":null,"abstract":"Reseña de la obra de Bayón, Fernando y Jaime Cuenca, eds. Públicos en transformación. Una visión interdisciplinar de las funciones, experiencias y espacios del público actual de los museos. Madrid: Editorial Dykinson, 2020 [ISBN: 978-84-1324-533-1]","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":"77307115","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 Lampens Dieter, and Lizet Klaasen, eds. Harmony in Bright Colors. Memling’s God the Father with Singing and Music-Making Angels Restored. Bélgica: Brepols Publishers, 2021 [ISBN: 978-2-503-58028-9]
Reseña de la obra de Lampens Dieter和Lizet Klaasen编辑。明亮色彩中的和谐。梅姆林的上帝与歌唱和音乐制作天使的父亲恢复。b郁闷:Brepols出版社，2021 [ISBN: 978-2-503-58028-9]
{"title":"Lampens Dieter, and Lizet Klaasen, eds. Harmony in Bright Colors. Memling’s God the Father with Singing and Music-Making Angels Restored. Bélgica: Brepols Publishers, 2021 [ISBN: 978-2-503-58028-9]","authors":"Aurora Galisteo Rivero","doi":"10.5209/eiko.79267","DOIUrl":"https://doi.org/10.5209/eiko.79267","url":null,"abstract":"Reseña de la obra de Lampens Dieter, and Lizet Klaasen, eds. Harmony in Bright Colors. Memling’s God the Father with Singing and Music-Making Angels Restored. Bélgica: Brepols Publishers, 2021 [ISBN: 978-2-503-58028-9]","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":"85897037","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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