Titlebook: Spirits in Transcultural Skies; Auspicious and Prote Niels Gutschow,Katharina Weiler Book 2015 Springer International Publishing Switzerlan

MEEK

Solomonic Angels in a Mughal Sky: The Wall Paintings of the Kala Burj at the Lahore Fort Revisited in India from 1526 to 1858, were paradigmatic in many of their formulations, and brilliantly expressed their ideas in the visual arts. Since they ruled as Muslim elite over a vast empire of peoples of different beliefs and cultures, they were concerned with addressing the widest possible audience a

conformity

阻塞

Entangled Visualities: Celestial Beings in Early Twentieth Century Architecture of the Kathmandu Vahe Kathmandu Valley in Nepal. The twentieth century spirits in neoclassical Newar architecture are a transcultural, hybrid outcome engendered by artistic and architectural exchanges. Nepalese celestial beings are symbolic of the Newar builders’, plasterers’, and residents’ willingness to accept alie

Melanoma

The Goddess of Victory in Greek and Roman Art,l amount of depictions of Victoria in Roman Syria. Because of the significant role the Levantine region played in contact between the East and West in ancient times, the question of which beliefs and concepts these figures represented is of special interest with respect to a cross-cultural perspective.

的是兄弟

Solomonic Angels in a Mughal Sky: The Wall Paintings of the Kala Burj at the Lahore Fort Revisited nd, in order to achieve this, developed a cosmopolitan imperial rhetoric which also informed their artistic programs. Thus following Mughal artistic interests, as is true of an investigation of winged spirits in general, will often be a cross-cultural journey.

有害處

Ethereal Imagery: Symbolic Attributes in the Art and Architecture of India,ctural and sculptural details in Indian religious architecture. In the second half of the nineteenth century, such forms finally emerged as a result of the entanglement between local and imported Western art forms. European art and imagery thus became identified with the taste and preferences of the colonial state.

骯臟

2191-656X d develop the practice of identification and classification The volume investigates the visualization of both ritual and decorative aspects of auspiciousness and protection in the form of celestial characters in art and architecture. In doing so, it covers more than two and a half millennia and a br

In-Situ

The Iconography of Zoroastrian Angelology in Sasanian Art and Architecture,e. The cultural legacy of the Sasanians in turn became a great source of inspiration for medieval art and architecture both in Europe and Asia. In this article, significant examples from the religious canon of Sasanian iconography are studied in reference to the cross-cultural entanglements of angels.

corpuscle

The Dragon in Transcultural Skies: Its Celestial Aspect in the Medieval Islamic World,or more levels of reality. Its inherent duality renders the dragon image an embodiment of change and transformation par excellence. Such associations expand its semantic territory as agent of metamorphosis and into the realm of spiritual conceptions.

牽索

How Celestial Spirits Became Winged in the Architecture of the Kathmandu Valley, Nepal (Sixth to Nihout wings, as guardians of doors, windows, and thresholds for 1,000 years. In the middle of the seventeenth century, to conform to established images of angel-like spirits (Pers. .) of Mughal-Iranian provenance, they were equipped with wings and clad in outlandish dress, successfully replacing the earlier spirits.