The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engr...The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.展开更多
Brasilia, born of the urban plan by Lficio Costa and of the unexpected concrete structural forms designed by Oscar Niemeyer, knew how to adapt to the new forms that came from the country＇s religious syncretism. This ...Brasilia, born of the urban plan by Lficio Costa and of the unexpected concrete structural forms designed by Oscar Niemeyer, knew how to adapt to the new forms that came from the country＇s religious syncretism. This article aims to compare, through religious symbolism, structural forms and architectural spaces, two sacred monuments： The cathedral of Brasilia （1958-1967） and the stupa of the Tibetan Buddhist Center, inaugurated in 2006. The millenary construction form of the stupa, one of the primordial sacred structures for all Buddhism traditions, the sacred symbol of enlightenment, must obey some construction rules according to its lineage＇s Buddhist tradition. In this way, the stupa is the opposite of a strong and fearless structural form embodied in the cathedral, with its 16 revolution hyperboloid concrete pillars and its subterranean entrance. Although built in concrete both are unusual forms of architecture with distinct spatial conception and sculptural form structures. While respecting religious differences, it is noticeable a real commitment between form and structure, volume and religious symbolism. At the conclusion, it is perceivable how distinct forms--the Cathedral and the Stupa--can respond in analog manners to the necessity of a gathering space where visitors go in search of expressing their faith. Along with them, Buddhism and Catholicism are rooted in Brazil＇s new capital.展开更多
Modern Chinese Buddhist literature of the war of resistance against Japanese aggression is a unique literary phenomenon written in a unique era.Thematically,it combines the modern Buddhist consciousness of citizenship...Modern Chinese Buddhist literature of the war of resistance against Japanese aggression is a unique literary phenomenon written in a unique era.Thematically,it combines the modern Buddhist consciousness of citizenship and the traditional spirit of the Way of the Bodhisattva.In terms of individual life experience,it responds to the spirit of the times through the conscious and innovative use of Buddhist conceptions introduced in a modern manner;in terms of identifying a social role,its artistic practice consciously and actively answers the call of China’s wartime cultural strategy;and in terms of artistic production,it vigorously promotes modernization of expression and popular participation.These new elements and tendencies offer a perspective that cannot be overlooked if we are to gain an in-depth and comprehensive appreciation and evaluation of the role of wartime Buddhist literature in China’s national war of resistance.展开更多
文摘The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.
文摘Brasilia, born of the urban plan by Lficio Costa and of the unexpected concrete structural forms designed by Oscar Niemeyer, knew how to adapt to the new forms that came from the country＇s religious syncretism. This article aims to compare, through religious symbolism, structural forms and architectural spaces, two sacred monuments： The cathedral of Brasilia （1958-1967） and the stupa of the Tibetan Buddhist Center, inaugurated in 2006. The millenary construction form of the stupa, one of the primordial sacred structures for all Buddhism traditions, the sacred symbol of enlightenment, must obey some construction rules according to its lineage＇s Buddhist tradition. In this way, the stupa is the opposite of a strong and fearless structural form embodied in the cathedral, with its 16 revolution hyperboloid concrete pillars and its subterranean entrance. Although built in concrete both are unusual forms of architecture with distinct spatial conception and sculptural form structures. While respecting religious differences, it is noticeable a real commitment between form and structure, volume and religious symbolism. At the conclusion, it is perceivable how distinct forms--the Cathedral and the Stupa--can respond in analog manners to the necessity of a gathering space where visitors go in search of expressing their faith. Along with them, Buddhism and Catholicism are rooted in Brazil＇s new capital.
文摘Modern Chinese Buddhist literature of the war of resistance against Japanese aggression is a unique literary phenomenon written in a unique era.Thematically,it combines the modern Buddhist consciousness of citizenship and the traditional spirit of the Way of the Bodhisattva.In terms of individual life experience,it responds to the spirit of the times through the conscious and innovative use of Buddhist conceptions introduced in a modern manner;in terms of identifying a social role,its artistic practice consciously and actively answers the call of China’s wartime cultural strategy;and in terms of artistic production,it vigorously promotes modernization of expression and popular participation.These new elements and tendencies offer a perspective that cannot be overlooked if we are to gain an in-depth and comprehensive appreciation and evaluation of the role of wartime Buddhist literature in China’s national war of resistance.
