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Ultima descărcare din IBN: 2023-08-24 01:07 |
Căutarea după subiecte similare conform CZU |
393(498.4) (1) |
Moarte. Pregătirea morților. Înmormântări. Ceremonii funebre/funeralii (59) |
SM ISO690:2012 OLEA (NEAGOIE), Sidonia Petronela. Funeral symbolistics in Transylvania. Zoomorphic and vegetable patterns. In: Patrimoniul cultural de ieri – implicații în dezvoltarea societății durabile de mâine, Ed. 3, 11-12 februarie 2021, Chişinău. Chișinău, Republica Moldova: 2021, Ediția 3, pp. 164-166. ISSN 2558 – 894X. |
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Patrimoniul cultural de ieri – implicații în dezvoltarea societății durabile de mâine Ediția 3, 2021 |
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Conferința "Yesterday’s heritage – implications for the development of tomorrow’s sustainable society" 3, Chişinău, Moldova, 11-12 februarie 2021 | |||||
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CZU: 393(498.4) | |||||
Pag. 164-166 | |||||
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Rezumat | |||||
Man, by his nature, has given special importance to the moment of death, since ancient times. If in prehistory the burial of the deceased focused on the funerary inventory, in antiquity begins to mark the place of a tomb with so-called markers, which will be discussed in the following pages and will be identified as funerary art. In other words, the commemoration of individuals appeared with the marking of the burial place in order to remind the descendants of the existence of the deceased. During the transition to the Middle Ages, implicitly in the first centuries of this historical epoch, the visibility of some tombs was not accepted. Then we gradually move to the marking of the tombs, but with anepigraphic stone slabs, gradually moving to more elaborate moments that integrated symbols and later inscriptions associated with the deceased. Funerary symbolism, an extremely vast subject and impossible to exhaust, is the side that gives the funerary monument the title of funerary art. The time period on which we will focus will be between the seventeenth and nineteenth centuries. Regardless of religious orientation, funerary monuments are often divided into two fields: the inscription field containing the epitaph dedicated to the deceased and the field dedicated to the symbol (of the relief represented), which tends to correlate with the deceased, especially providing information about his profession. This paper aims to present an introductory study on zoomorphic and phytomorphic symbolism represented on Transylvanian funerary monuments from the modern era to the nineteenth century (photographic examples from the twentieth century just wanting to emphasize the presence of motifs in time). It is desired to offer some examples of these very common categories (in the studied cemeteries, Jewish and Christian). I will focus on some symbols often found in Transylvania, the coverage of the whole area of symbolic elements being impossible. Thus, regarding the zoomorphic elements, I will consider: the lion, the pigeon and the deer and in the category of vegetal decorative elements I will target: the tree of life, the weeping willow, the olive tree, the garland of flowers and the ear of wheat. |
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