Hasil untuk "Decorative arts"

Zulkifli, Wahyu Tri Atmojo, Gamal Kartono et al.

The Malay ethnicity in North Sumatra is rich in artistic traditions, including visual arts. Malay aesthetics, encompassing high aesthetic values, are commonly expressed through applied arts such as decorative motifs, traditional attire, and everyday objects. These Malay artistic expressions serve as the basis and reference for the creative exploration of North Sumatran painting art. This article examines how aesthetic transformation is revealed in the efforts to preserve Malay visual cultural forms. The socio-cultural approach is presented descriptively and qualitatively, emphasising the appreciative aspect. The methods employed include observation and creative endeavours, with the inventive method referring to Graham Wallas’s theory of creativity. Aesthetic evaluation from audience responses was obtained through observation. The conclusions drawn from the study are as follows: 1) Malay ethnicity, as a traditional identity, is manifested in the aesthetic transformation of its visual culture, transitioning from functional aesthetics (applied art) to pure expressive aesthetics (fine art); 2) Aesthetic transformation gives rise to new values through elements of concept, form, utility, and iconography; and 3) Aesthetic transformation impacts the strength of North Sumatran painting art and contributes to the resilience of local culture.

Elzara Aiderovna Khairedinova

Among the large buckles with rectangular shield and Christian symbols existing from the sixth and the first quarter of the seventh century among the Gothic-Alan population of the south-western Crimea, there were clasps showing stylized image of a “shining” cross. These artefacts clearly demonstrate the presence of two fundamentally different artistic and craft traditions: Byzantine and East German. The maker of the buckle was well acquainted with еру East German examples, from which he borrowed the general design and the shape of the components, and was familiar with the items from the Byzantine circle, from which he copied the image. The production of the buckles with Christian symbols was established in Cherson, a major Byzantine trading and craft centre on the peninsula. The connection between the cross and light is obvious: in the Holy Scripture, God and Christ are repeatedly identified with light. The image of the cross shading light was particularly popular in the Early Byzantine Period. It was placed on mosaics, frescoes, church utensils, individual items of Christian worship, ceramic lamps, tableware and belt fittings. In the early mediaeval Christian worldview, the cross was not only a symbol of faith but also had protective powers. In everyday life, the buckle was used as a clothing accessory and simultaneously an amulet, which, like the cross, was supposed to protect the wearer from all harm. The published buckles are striking examples of the products that reflect the “fashion” of the period in question and demonstrate the connections between the decorative and applied arts of different regions.

Monica Gori, Giulio Sandini

Painting comes from the desire to create through movement and color a non-existent image, making it real. To create a new pictorial composition, a close harmony between the creative process and the motor act is necessary. The technique represents the ability to generate motor actions and to interpret the “language” of colors and shapes. Creativity is the ability, through imaginative, cognitive, and perceptive sensory skills, to transfer creative work on canvas. The action itself is, therefore, a disappearing ghost of creativity; leaving the result of the pictorial work. In this article, starting from the reflections of those who preceded us, we will discuss the intersection between neuroscience and art by discussing action and multisensory perception in painting. We propose an interdisciplinary link between art, neuroscience, and technology that can open up new research directions and artistic methodologies. The final goal of our perspective is to highlight the process behind the creation of a painting highlighting how action, multisensory perception and new technologies interact in the creative process.

Martynova Daria O.

This article discusses the role of William de Morgan (1839–1917) in the development of the 19th-century English ceramic art, with a particular focus on his use of Persian motifs. To further explore this topic, the author characterizes the significance of Persian art in in the museum collections of Victorian England, as well as the concept of ‘Persian style’ and how it was interpreted by the contemporaries of the English ceramist. Additionally, the article analyses the characteristics of W. de Morgan’s figurative and artistic system which was shaped under the influence of Persian art collections and studies. The article also examines zoomorphic motifs such as scenes of birds and snakes fighting and fantastical creatures which are typical of Persian art. Through an analysis of W. de Morgan’s creative works this article identifies the unique features of his use of Persian motifs and distinguishes them from those of other regions he studied. As a result, the author has come to the conclusion that Persian motifs played a significant role in the expansion of artistic boundaries in European decorative arts during the second half of the 19th century. This material significantly enhances our understanding of decorative and applied art history of Victorian England and W. de Morgan’s artistic development.

Erma Fitria Rini, Rufia Andisetyana Putri, Murtanti Jani Rahayu et al.

Mobile hawkers are importantin providing accessible products, particularly to the urban community. For years, traditional on-demand vegetable hawkers have been benefiting from local wisdom. The presence of mobile hawkers who come to customers canreduce community movements by shortening the distance that customersmust travel to shop. By reducing the length traveled in daily shopping, it is possible to reduce the usage of motorized vehicles, which further impacts urban sustainability. The purpose of this research is to compare the environmental impact of community activities with and without mobile hawkers on daily shopping activities. In this research, the Wilcoxon test was employed to determine whether there is a mean difference between two paired samples. The results reveal that mobile hawkers can help reduce the carbon footprint of community daily shopping mobility

Babatunde Adekoyejo Jolaoso, Muhammad Murtala Bello, Auwalu Nasir Umaru et al.

Dakaliis a unique feature that plays a functional role in the Hausa Vernacular Architecture (HVA). However, events have revealed a gradual extinction from the streetscape due to contemporary changes in the cityscapes and the general physical development with the concomitant effect of reduction in the performance of the expected function in buildings. This paper focuses on the enumeration and documentation of buildings with or without this significant feature. It also appraises the attendant contemporary architectural design-shift. The paper adopts quantitative research approach; purposive sampling and Content analysis method in the selection of potential respondents and review of related literature respectively. This was complimented with the conduct of field survey, selective interviews and observation. Information extracted therefrom was descriptively presented. Findings revealed that out of the total of 235 selected samples, 50 buildings (about 21%) reflects the HVA features; only 14 buildings (about 5.95%), though with retained feature HVA like the Dakali, but have significantly lost the features and transiting towards the contemporary/modern trends; while, 171 (about 72.7%) of the buildings in the study area have completely been transformed. The paper concludes that there is the need for the identification and comprehensive documentation other HVA features for posterity, so as not to allow their total loss without any form of record of their historical existence, due to fast changes been experienced arising from the advent of innovative design, challenges of rapid rate of global urbanization and the trending break-through in technological advancement within our urban/city settings

Paolo Franzo

The contribution questions the possibility that fashion and its objects can be interpreted as a practice of care, agents capable of stimulating a positive change in the relationship between people, environment and territories. Within the theoretical framework of fashion futuring, the design and social innovation workshop Talking Hands is analysed as a case study of redirection practices, which are expressed in participatory design dynamics, relationships between the subjects of creative and production processes, new narratives and synergies between people and communities.

Hengameh Fazeli, Esmaeil Negarestan

Scholars believe that traditional dwellings propose elements of good-design by considering human system as a whole, composed of physical, emotional, mental and spiritual aspects and one of the means of achieving such holistic approach was their thorough knowledge of human bodies and chakras besides physical and technological side of architecture. However, as science advanced and the material views became more popular, holistic views towards architecture got abandoned, and replaced with specialized sciences dealing with physical aspects of living. Although many scholars such as Christopher Oliver, Christopher Day or Cooper Marcus, tried to emphasize on the importance of psychological aspects of human system, using traditional buildings as successful examples of architecture, the spiritual side of architecture remained unrevealed. This article, studying the art and architecture of Indo-Aryan societies using case studies as a method of data collection, aims at introducing architecture as a combination of physical, psychological and spiritual sciences to help create buildings that not only provide physical comfort, but also nurture the soul. The author believes that one considering the spiritual side of human life, especially the energy body and its chakras, is one of the reasons why traditional Indo-Aryan art and architecture is considered as one of the examples of good-design

Shaimaa Shaker

Recently, the Corona virus, which is known scientifically as COVID-19, has invaded the world, which caused a global uproar that astonished the whole world, as all fields of work - factories, companies, schools and universities .... - have completely stopped and the news, whether local or global, has only been carried News of injuries and deaths, which sparked curiosity in moving from this amount of feelings of sadness and fear that dominate the global scene to addressing the bright side of this virus in an attempt to identify its entry stations and its penetration into cells and the accompanying microscopic artistic and aesthetic formations and benefit One of them is as a source for designing textile printing in a way that achieves a change of psychological state towards comfort and calm in receiving artistic work, as it represents a smile of hope in light of the global crisis, where the applied artistic work is considered a mirror of society and must play the leading artistic and social role that accompanies daily life and current problems. Bio-art is one of the branches of arts that is based on the amalgamation of plastic arts and biological sciences, as it uses living tissues, bacterial media, genetic sciences, and biological processes as artistic tools, and decorative units from which the artist derives his design ideas, especially as it is one of the latest trends in art. The idea of ​​the exhibition is that the formal features and organic analyzes of the Covid-19 virus can be used to reach new innovative formulas in the field of textile printing design that include the use of textile designs printed with the technique of thermal transfer, digital printing, printing and stencils, and several "stencils" products. Scarves and some cushions, and in this context the exhibition aims to shed light on the importance of making use of the aesthetic and plastic values ​​of vital art and the Covid 19 virus as a source for textile printing design

Natalia Valerievna Borovkova

This article studies one of the relevant issues of Russian stone-cutting arts of the turn of the nineteenth century, i.e. the problems of attribution of Altai stone-cutting works. The author carries out a comparison of graphic materials with images of stone-cutting products from the Lokot’ Altai Factory. The author singles out sets of images of stone objects from the Lokot’ Stone-Cutting Factory kept in the funds of the State Hermitage Museum and the Altai State Museum of Local Lore, which makes it possible to get a more comprehensive idea of the history of the development of Russian stone-cutting art, dispel persistent myths, and shed light on the activity of an almost forgotten unique production. Particular attention is paid to the organisation of stone-cutting production in Russia starting with the second half of the eighteenth century, as well as the administration of the Kolyvan’ factories in the management system of the Cabinet of His Imperial Majesty. The author closely examines the system of orders, production, and performance of Russian grinding factories. For the first time in this research field, much attention is paid to the systems of documenting every step of stone-cutting production from the stonecutters to presentation to customers. The author confirms the fact that the Lokot’ Factory used already tested projects of the Peterhof Granite Factory as samples for their production. The article presents drawings of stone objects made during the work of the Lokot’ Polishing Factory in the Kolyvano-Voskresensky mountain district of Altai. The results of this scholarly research may be used to conduct an examination of objects of decorative and applied art. In the course of the study, it is proposed to distinguish between two periods in Altai stone-cutting art: Lokot’ (1786–1799) and Kolyvan’ (1802 — present) and based on the collected graphic materials attribute the works of two stone-cutting enterprises of Altai of the late eighteenth — nineteenth centuries. The graphic materials referred to in the study are an array of historical and archival sources of a high documentary value for the attribution of stone-cutting products made by Altai masters.

Tobias Locker

This article examines the creation of three distinct porcelain cabinets, today preserved at Naples, Aranjuez and Madrid. These interiors, created in the second half of the 18th century for Charles Sebastian of Bourbon and Farnese (1716-1788), respectively his wife Maria Amelia of Saxony (1724-1760), are the only ones in the world to have been made entirely from this precious material. By highlighting the specificity of the Mediterranean context in which they were created, an important facet will be added to their history, allowing not only a better understanding of their successive creations, but also of the multifaceted influence they exerted on contemporary artistic production in Spain.

Hanin Elezaby, Naglaa Teama, Eman Elmehy

Fashion design is considered one of the industries that need continuous development in order to keep up with the continuous global developments. The designer must always strive for research and development so that he can express his personal talent as a designer. The quality of design is the basis. As for those feelings in color, value, font, surface values, areas, shapes, floor and design subject, and since fashion designing is an art in itself, it is considered one of the most important basic arts in different civilizations, as it reflects their cultures in the past and explains the characteristics of It is also one of the applied and decorative arts. Therefore, it is called the art of designing fashion, where the designer draws his designs from many sources that inspire him with more ideas, and these sources are surrounded by him. And to realize that it consists of the accumulation of several civilizations. Modern and contemporary Egyptian art can be as diverse as any work in the international art scene. This research deals with designing modern clothes inspired by the work of the Egyptian artist Omar Nagdy and producing designs characterized by modernity and at the same time the Egyptian character and the Egyptian character is clear and the study concluded that the proposed designs have achieved The degree of acceptance and success in light of the averages of specialists evaluation.A number of those designs inspired by the artist Omar El-Nagdy have been implemented, where a questionnaire directed to specialists in the field of clothing and textiles has been prepared to evaluate 10 designs inspired by the work of the artist Omar El-Nagdy in terms of the extent of the success of the paintings in enriching the designs. And make the necessary statistical analyzes to judge the executed designs.

Bobyr Olha Ihorivna

The article studies the pedagogical conditions for the formation of the artistic and aesthetic mindset of future artists in the process of professional training. The meaning of the concept ‘condition’ in philosophical, psychological and pedagogical dictionaries is considered. Based on the analysis of scientific approaches to the interpretation of the concept of ‘pedagogical condition’, the pedagogical conditions for the formation of artistic and aesthetic mindset of would-be artists are determined. We define them as a holistic interconnected set of activities specially created within the educational process, which provides motivation for students to artistic and creative activities and increases the level of formation of the components of artistic and aesthetic mindset. The set of pedagogical conditions is substantiated. It is aimed at motivating students to perform artistic and creative activities and increasing the level of formation of the components of artistic and aesthetic mindset. These include: 1) creating a comfortable artistic and creative environment in the educational process; 2) the interaction of the content of professional disciplines with the subjects of socio-humanitarian cycles, aimed at forming components of the artistic and aesthetic mindset of artists; 3) involvement of students in extracurricular artistic and creative activities by activating internal motivation through external stimulation; 4) ensuring the priority of practical activities in solving artistic problems through the study of nature in terms of ‘plein air’. The first pedagogical condition is considered in two aspects: artistic and creative environment as a system of favorable external (physical) circumstances and professional interaction between the teacher and the students. The second pedagogical condition reveals the thematic content of the subjects of the social-humanitarian cycle, which should be professionally oriented and organically connected with the specialty 023 ‘Fine arts, decorative arts, restoration’. The third pedagogical condition reveals the need to motivate students on which depends any activity. And the fourth condition explains the need to lay a solid foundation of professional knowledge and skills by means of plein air painting

Richard Horban

The article is devoted to the analysis of the problem of connection between the creative and national aspects in the dimension of the being of the person and the community in the context of national intellectual discourse, which is actual in view of the new wave of existential crisis experienced by modern man. The idea of creativity as an uninterrupted continuum of being of the nation is represented by the concepts of well-known cultural and public figures of the Ukrainian diaspora of the 20th century who represented various fields: cultural studies, study of literature and literary form was represented by Ye.F. Malaniuk, pedagogical and literary forms - by H.H. Vashchenko, church-religious, theological and journalism studies - by S. Yarmus, art studies and art form - by B. Stebelskyi. It is proved that formed on the basis of cordocentric worldview paradigm and, therefore, personalistically and existentially preconditioned, the Ukrainian intellectual thought about the awareness of the ethical value of a person prevailing in Ukrainian ideology is extrapolated from the individual to the ethno-national community. Thus, a nation is regarded as a person. Since personalism implies an active and creative attitude to the world and considers a person as a creative element and a constitutive feature, it is natural that in the context of considering a nation as a common person the problem of ontological communication between the creative and the national one appears. During the last century, Ukrainian intellectual discourse had shaped the idea that the deep psychological needs of the human person are satisfied through creativity, which also justifies its God-likeness, the unique soul of the people is manifested, and most importantly, the spiritual association of all generations of the nation into a holistic personal community is implemented. The author marks the historiosophical concept of Yevhen Malaniuk, who considers the denationalization of the creative sphere of the Eurasian cultural space, which, in turn, led to its depersonalization, the main cause of the crisis of contemporary art. Therefore, within the limits of the examined intellectual discourse the following thought is outlined: the loss of a personal relationship between a creative person and a nation not only leads to a crisis of art and crisis of a personality, but also threatens the existence of a nation. This gives reasons to consider creativity as a way of existence of the nation.

Juwito Juwito , Respati Wikantiyoso, Pindo Tutuko

The “Park Revitalization” program initiated by the Malang City Government with the private sector is being implemented and the implementation of this program raises questions, namely the extent to which this physical intervention should be carried out, so that integration and sustainability have a positive impact, without reducing the existing green open space. This study uses a quantitative methodology in the form of a Green Open Revitalization program review conducted in Malang City by assessing the percentage reduction in area. Operational definitions of variables used in this research design are in the form of transfer functions or building additions and the use of functional areas/materials or cover material. Analysis of the condition of objects by referring to Area Revitalization. Objects of observation are analyzed using thematic maps and statistical analysis. The results of the study show that there is a close correlation between the conversion of functions or the addition of buildings and the use of functional areas/material or cover material to the percentage of RTH. The selection of the right material with the theme and characteristics of green open space with sustainable technology is an integrated entity with continuous improvement in the quality and quantity of the environment.

Nashwa Nagy

This research provides a model for the design process of an industrial product from the beginning of studies in the field of marketing, design and production, taking into account the other practical aspects of environmental science, aeronomics and communication science. The research was limited to presenting two basic factors, namely, marketing and design, because they played a major role in the design and exit of the product to its final form before being put on the market. The research also presents the role of the designer and the steps he should take to implement the design process successfully. The research clarifies the specifications and the scientific and technical aspects that must be available in the successful designer. In order to carry out studies in the field of marketing, it is necessary to know and determine the quality of the consumer as well as determine his social class. The real motives of the purchase process are primary motives, secondary selective motives, motives of dealing and emotional and mental motives. The stages of product design include four stages in which the problem is studied, design solutions for the proposed product, evaluation, modification or development. Textile design is a self-developed art with the technological development that we can reach. It is a major artery for every free economy. It creates an incentive for the demand of the product by the consumer based on the design, the material and the price. The art of textile design carries a high value of cultural, artistic and economic influences in our modern society. Creativity in the design of textiles is a state of the mind of human innovation, which appears to find ideas and methods of extreme novelty and uniqueness to constitute a real addition to the total human production daily. Creative marketing also depends on the energy, imagination and new ideas that match the age in the marketing of products instead of the traditional methods of marketing and lost its effectiveness in the consumer there are modern methods of marketing must be relied on in the marketing of textile products. We see that the Egyptian decorative elements inspired by the arts and the various heritage with its high aesthetic value and non-recurrent in the countries of the world in addition to the distinctive Egyptian natural produced natural products such as cotton, linen, wool and other raw materials in addition to the skilled labor all these factors do not exist much Of the countries of the world, this is a distinction, but the real problem is in the presence of modern methods of marketing, which promotes the Egyptian product of textiles, which work to achieve a competitive ability worthy of art and raw material Egyptian. And when the applied arts invented by the human to add the benefit and the function of the performance of things to add value aesthetic love of man and proximity to things used in his daily life and became the application of this method after the great industrial and technological progress in the present time requires the designer to conduct research and scientific studies to produce the product image New, characterized by functional ability and aesthetic touch, especially after the breadth of product marketing and the great scope for competition and promotion and hence the need for design and the need to establish the foundations and assets to become aware of his studies and research, which adhere to the designer Sold and taken for the integration of art and industry, whatever the type of product design and design plays a large role in industrial production and has a key role in small industries and the design of science and beauty is based on the system contains the values ​​of aesthetics but You need special information in multiple fields so that you can understand all the factors that make the design successful and acceptable to the consumer and the word design begins to develop a plan that adapts the mind and does not start drawing or building a work, but this is done after the completion of all studies and research needed for the new product studies In the Marketing, production and design. The research has reached several conclusions and recommendations as well as the use of Arabic and foreign references.

Clothilde Roullier

This article proposes a few lines of documentary research in a field that is practically unexplored: the identification of archival sources relating to works of art in state, regional, departmental and communal administrations from 1945 up to the present day. Since there is no specific administrative service charged with the decoration of these administration buildings, the sources are not easily identifiable or visible. Within large archival holdings it is necessary to identify the files of particular interest for the subject. This identification is based on a survey of the places where the works are installed, although some of them are no longer in place and some, sadly, have been destroyed. At the end of our preliminary research that analyses the sources at different levels of administration in the territory, it appears that the papers available in the public archive services could allow for a larger study on the subject. To these sources produced by public entities, and in the cases where they are catalogued and accessible, the private archives of artists and architects can be added.

Helen Bieri Thomson

How does one recreate a historical interior when the original furniture has disappeared? This challenge was taken up at the Château de Prangins in Switzerland. There, starting out from key archival documents relating to the history of the building and drawing on the rich collections of the Swiss National museum, specialists managed to restore the decor of an eighteenth-century reception apartment. This article examines the criteria used in the choice of the furniture and the decorative arts, matching them with the entries in an inventory. It draws attention to the limits and advantages of this approach.

Ahmad Salehi Kakhki, Bahareh Taghavinejad, Zahra Rashednia

Ilkhanids, is a title that name to Holaku’s successors and they ruled modern iran and also part of around lands from about 633 A.H to 756 A.H and governments like; AL-e Mozafar, AL-e Injuid, AL-e Kurt some, contemporary to them and by accepting Ilkhanids or appearance weakness of their power ruled on part of their territory, when Iranian arrived to the governmental system, due to their support from arts and artists and different types of arts such as stucco, arts hade a remarkable development and growth. In this period, We can see beautiful stuccos mihrabs and inscriptions that were ordered by rulers and governors to be used in mosques, shrines and mausoleums Which Were made by famous artists of different families. In the meantime kermani artists, played an important role in creating valuable stucco works such as Mihrab in Ilkhanid until beginning of the Timurid era and became one of the most important artist Families in this field. Therefore purpose of current research in the first place is identifying Kermani Plasterer artists and the introduction of signatured and also attributed to the distribution of artists and their work in Ilkhanid until beginnin of the Timurid era. and then study the characteristics of visual works, in order to access specific characteristics that are decorative. Methods of Data collection are library studies and field studies and works documentary. Research approach is historic – comparative. We found out that works of Kermani artists have special decorative and structural charactistics. For example: adorned spandrel of all the Mihrabs and some of their stuccoed panel with rounded form, border of this round form with spandrel perimeter wall, using of Khataei flowers that have common decorations, setting a fixed place for inscription recording with artist’s name and date of construction of Mihrabs and etc. That distinguish them from other artists.

Prolović Jadranka

Because the dome is interpreted as a symbol of the heavens, it is reserved for heavenly subjects. The calotte of the dome is seen as a vault of heaven or 'heaven in the heavens' and, as such, as the 'house of Christ'. As the commentator in the 19th century reports, the image of Christ Pantokrator was once located at the zenith of the central dome of Resava. The preserved scenes and figures below the dome, specifically the heavenly liturgy and the prophets, confirm the original existence of this image. Together they build an iconology that was very widespread in late Byzantine art. The composition of the central dome of Resava resembles in its complete appearance, supported by some particularities, the central dome of Ravanica, which served as a model for the artists of Resava. One can find close parallels for the decoration of the side domes in Ravanica. The similar arrangement of heavenly powers in the tambours of the domes in Ravanica and Resava indicate that, like in Ravanica, Christ Emmanuel, the Age of Days, the Mother of God and the Archangel Michael could have been depicted in the zenith of the side domes of Resava. This type of decorative scheme in side domes is common in late Byzantine monumental painting. The remaining fragments with images of angels as deacons positioned in the ring around the zenith of the central dome show that the Heavenly Liturgy was depicted here, specifically the Large Entrance which, aside from the communion, was the only part of the liturgy visible to the faithful. In Resava, the Heavenly Liturgy is completed by the images of crowds of angels, which are portrayed in the tambours of the side domes. The liturgical hymns that accompany these images of angels confirm this order. The rendering of orders of angels in the tambours of the side domes in Resava comply with the traditional program in which these heavenly beings - who being closest to God, who were his first creations and the only to whom a look in the heavenly spheres is always possible - are depicted in His nearest proximity in the dome as a symbol of heaven. The different clothing of the anthropomorphic angels and the differently fashioned robes of the other heavenly beings show that the painter wanted to illustrate the heavenly court with God's heavenly hosts and their hierarchical order. According to Pseudo-Dionysios Areopagites, the hierarchy was composed of nine ranks. It was the top levels of the heavenly army and guard that protect the throne of the Pantokrator and that serve as mediators between heavenly power and humans. With these depictions of heavenly beings in the tambours of the side domes in Resava, the visions of the prophets, who in seldom moments could see these beings, are illustrated. The twenty-four prophets, who have received their symbolic location underneath the Heavenly Liturgy in the spaces between the windows in the tambour, complete the iconographie program of the central dome. The prophets of the Old Testament could sometimes look upon God, as they report in their writings. For this reason they were arranged in the tambour of the dome directly beneath the depiction of the heavenly world, which can be seen in the calotte surrounding the Pantokrator. With this symbolic placement, the prophets connect Heaven and the heavenly world with the Earth and the earthly world. Accordingly, they link the heavenly and godly nature of Christ with his human nature. Here in Resava, all four major and twelve minor prophets who composed their own works are depicted. Also Elijah and Eliseus, who even though they wrote nothing serve as major prophets, were shown here in the tambour. Samuel, Zacharias, Aaron and Moses, who represent the préfiguration of Christ as the High and Eternal Priest, are also depicted. Furtherly, their arrangement expresses a hierarchy among the prophets. Those who are more important and whose work is more often used in the liturgy received a space in the upper register. Selected quotations from the works of the prophets written on their scrolls summarize the most important themes of Christian philosophy and Christian belief. These quotations had, for the large part, also been incorporated into the liturgy. This fact is to be coupled with not only the depiction of the Heavenly Liturgy on the zenith of the dome but also with the Liturgy of the Holy Fathers in the apse of the church, as well as with the liturgy performed daily in the church, which itself is in turn modelled on the Heavenly Liturgy. Most of the quotations were dedicated to holy days on which the appearance of God and of the Holy Trinity are expressed. One of these is Pentecost, which the church at Resava especially celebrated. The quotations further emphasize the suffering of Christ on the cross and particularly the Anastasis. The prophets depicted suggest not only the Messiah; they also emphasize the importance of the Mother of God, of John the Baptist, and furtherly of the apostles and priests as successors of Jesus. John Prodromos is shown by his presence and by the quotation in the hand of his father, Zacharias. With their symbols, the Old Testament priests point out the role of the Mother of God in the mystery of the Incarnation and the Salvation of Man. They are not only as préfigurations of Christ present, but also as the Old Testament predecessors of the apostles and their priestly followers, who continued the work of Christ through which the church survives. The depictions of the prophets and the quotations in their hands contribute with certainty to the painted themes that are illustrated in the lower zone of the church. It is important to note, that they do not always stand directly above their corresponding scene. The central dome of Resava was too complicated for this kind of arrangement that is often found in Byzantine chuches. All other symbolic relationships are however presented in superior style in the central dome of Resava. The surfaces beneath the four side domes and most likely those of both upper windows in the south wall of the diakonikon and the north wall of the prothesis of Resava were probably primarily decorated with the ancestors of Christ and the Righteous. Their presence is to be interpreted symbolically as a confirmation of the earthly life of Christ and furtherly suggest the Incarnation and the roles of Christ as priest and king, which can be followed through the generations of his human ancestors. These figures also stand for a connection between the New and Old Testaments. In the central dome of Resava, the evangelists are arranged in the pendentives while renderings of the man-dylion and keramion (east and west) and of the blessing Hand of God (north and south) cover the surfaces in between. The evangelists are placed in this position starting in the 1 lth century at the latest. In the late Byzantine period, the evangelists became almost exclusively decoration for the pendentives; the church of Resava is such a typical example. The arrangement of the evangelists on the pendentives of Resava demonstrate not only the relationship between the evangelists themselves, but also between their works. Thus, as direct disciples of Christ, the evangelists Matthew and John received their positions on the eastern pendentives. The relatedness of their works are further expressed through this arrangement. Luke and Mark received the less prominent positions on the western pendentives of the central dome. The evangelists are depicted in the same placement in many domed churches from the Palaiologian era in the entire Byzantine area of influence. With the exception of John, all of the evangelists in Resava are shown with the personification of Heavenly Wisdom, which is depicted symbolically as a young woman according to models from Antiquity. John receives the supernatural power as rays directly from heaven and dictates to his pupil Prochoros. Aside from the evangelists themselves, their heavenly symbols are also located in Resava, which, along with the Gospel, glide from the Hand of God out of a heaven segment. Similar depictions of the evangelists with personifications of Heavenly Wisdom, heaven segments and the symbols of the evangelists were quite popular in late Palaiologian times. As already mentioned, the 'true images' of Christ are located in the areas between the pendentives. As it was produced through direct contact with the face of the Saviour, the mandylion serves as proof for the human features of Christ and confirms his human incarnation. All of the characteristics of the mandylion are naturally reflected in the copy of the keramion. Because of their meaning, both of these 'true images', of which the first depictions are pre-ico-noclastic, became one of the most important symbols of Christian art. After iconoclasm, depictions of the acheiro-poietoi from Edessa proliferated; the mandylion was the more prevalent object of the arts. As a consequence of theological debates and a changing image program in the arcades beneath dome during the 11th century, the mandylion and keramion were moved to the area between the pendentives and are hardly missing from this location in any domed church from this point on. The depictions of the evangelists and of both 'true images' in the vaulting directly under the dome have a deep symbolic meaning. As the authors of the Gospels, upon whose works Christianity is based, they received this space between Earth (naos) and Heaven (dome). Like the Atlas of Antiquity, they carry the word (evangelium) of Christ, which was spread directly from God through the four Gospels to the people on the four sides of the world. His image, which Christ sent to Abgar and which, like the word, possesses a supernatural power, also comes directly from God. In Resava, the creative power of God is presented symbolically in the form of His hand. The arrangement of the evangelists and both 'true images' express a very important equation between the word and the image of Christ. This parallel has occupied Christian theorists from the beginning; already Basil the Great explained 'What the word of historic writing brings to the ears, painting shows silently through the image'. During and after iconoclasm, theologians especially emphasized the word and image as equally important methods of proclamation. Thus, the Gospels, through which the written word of God is communicated, are equal to the 'true images', which convey the unwritten word of Christ. As can be learned from the teachings of Christian theorists, Christianity is based upon both of these, the word and the image. The theoretical occupation with this aspect is reflected in the arts as well, to the extent that the evangelists and the 'true images' are positioned next to each other in the decorative program of Byzantine churches. This arrangement became typical for these surfaces and can be continually followed in domed churches starting in the 1 lth century. .