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ICON Challenge on Algorithm Selection  [PDF]
Lars Kotthoff
Computer Science , 2015,
Abstract: We present the results of the ICON Challenge on Algorithm Selection.
The Serbian emperor Stefan's icon from the Hilandar monastery  [PDF]
Miljkovi? Bojan
Zbornik Radova Vizantolo?kog Instituta , 2006, DOI: 10.2298/zrvi0643319m
Abstract: The Story of the miracle-working icons of the Hilandar monastery, written down in 1558/9 in Moscow, contains an interesting legend about the processional icon of the Mother of God Abramiotis(s)a with Christ and the representation of the Prophet Elijah on the background, still kept in the treasury of the Serbian monastery on the Holy Mountain. According to the legend, this icon, which was taken from Bitolj by the Serbian ruler Stefan Du an, played the decisive role in the Serbian conquest of Serres in 1345. This Mother of God with Christ belongs to the rare Pelagonitissa type and it used to have revetment. To judge by its later copies, the icon was held in high reverence on the Serbian Court and later in the Hilandar monastery where the legend says the Serbian imperial couple brought it on the occasion of their visit to the Holy Mountain in 1347/8. On the basis of its style, the icon can be dated around the middle of the 14th century and it is a copy of the older and now non-existent Mother of God from Bitolj. However, the iconographic type was in existence also independently of Pelagonia, and it is safe to assume that its sources were probably in Constantinople. The unique epithet of the Hilandar icon also points to the Capital, or, more precisely to the monastery tSv AppocuiTrov, as the place of origin. In the second half of the 9th and in the 10th century, this monastery treasured a venerated icon of the Mother of God which was considered as Acheiropoietos. Nothing is known about the appearance of this icon, unless the Hilandar icon, dealt with in the present paper, represents its replica. The miracle-working icon of Pelagonitissa from Bitolj was probably treasured in the city cathedral, i.e. in the seat of the Pelagonian bishopric, dedicated to the Virgin, up to the Ottoman conquest and subsequent destruction of the town in 1385.
THE INAPPROPRIATE TSUNAMI ICON  [PDF]
DoakC. Cox
Science of Tsunami Hazards , 2001,
Abstract: The supposition that the Japanese printmaker Hokusai intended to represent a tsunami in his print of the “Great Wave at Kanagawa” is unfounded and the use of his “Great Wave” as a tsunami icon gives a false impression of the nature of tsunami waves.
THE ICON OR THE THERAPY THROUGH IMAGE  [PDF]
CODRINA-LAURA IONI??
Agathos : an International Review of the Humanities and Social Sciences , 2013,
Abstract: In traditional thinking, human existence was conceived like a fall from a state of grace in consequence of the original sin. Thus, life did not have any other purpose, but to recovering the initial state by healing off the disease of being in becoming and ephemeral. Holy places or objects have always mediated the contact between the human being and the absolute, perceived like the only true reality. As an expression of the “sacred”, the icon becomes a way of spiritual healing, implicitly a way to heal the soul. Therefore, all the levels at which it can be deciphered do not have another purpose but to justify this function. From a formal perspective of the elements that make up the image, the sacred is suggested by some geometrical forms with colors having a symbolic value or by relations considered to be perfect - relations and proportions that are to be found again in the intimate structure of the whole universe and of the human being itself. That is why the contemplation of an icon determines the resonance with its enciphered rhythms meeting the need for the sacred, and it harmonizes the human being. From a phenomenological point of view, the icon proves to be a place of presence, of meeting. It is the part of transition to the transcendental horizon. The look of the bystander crosses the visible and the objective in order to meet a prototype, which is not an original or a second visible beyond the first one, but it is a second look that penetrates the materiality of the icon. This second look is a commanding authority to the perceiver. It is the light of the invisible divine eye, which lightens and purifies the spirit of the one contemplating it.
Steatite icon with the Deposition at the monastery of Iveron on Mount Athos  [PDF]
Liakos Dimitrios
Zograf , 2010, DOI: 10.2298/zog1034065l
Abstract: This paper deals with a steatite icon of the Deposition, which is enshrined in the sacristy of Iveron monastery. The icon consists of two parts, one rectangular of light grey-greenish colour, with a smooth surface, and one arched of a darker colouring, porous texture and a rougher surface. The rectangular, older part of the icon is a fragment of a twelfth century icon from which the lower left angle and fragments of the right and upper side are lost. The fracture of this twelfth century icon led to its restitution which took place in the fourteenth century (the arched part), as it appears by the stylistic data and the inscriptions. At the same time the icon was embedded in the wooden panel.
Comments on the bilateral icon from Mytilini  [PDF]
Acheimastou-Potamianou Myrtali
Zbornik Radova Vizantolo?kog Instituta , 2007, DOI: 10.2298/zrvi0744473a
Abstract: The representations on the well-known bilateral icon from Mytilini, Christ Pantokrator on the front and St John the Theologian on the back, were detached in 1960. from the damaged wood and are now two separate icons. The icon of Christ has been dated to the middle or third quarter of the 14th century or to 1370-1380, and that of the Theologian to the late 14th-early 15th century or the second quarter of the 15th century. The conclusion is reached that the two representations are contemporary, date from the third quarter of the 14th century, and are the work of the same painter. This view is based on shared technical and stylistic features and the interconnection of meaning between the figures depicted, which accounts for the difference of character in the way in which the two figures - the divine figure of Christ and the earthly figure of the saint - are rendered.
L'Empire ottoman revisité The Ottoman Empire revisited  [cached]
Krikor Beledian
Cahiers Balkaniques , 2012,
Abstract: L'Empire ottoman dans l' uvre monumentale d’Hagop Sirouni (Djololian, Turquie 1890-Bucarest 1973), une image qui fascine et déchire. Poète, prosateur, théoricien de la littérature et historien, exilé en Roumanie en 1923, Sirouni édite la revue Nawasart (1924-25) et d'autres publications littéraires en langues arménienne et/ou roumaine. Arrêté en 1944 et condamné à dix ans de camp sibérien, Sirouni retourne à Bucarest au début des années cinquante. Obsédé par la nostalgie d'un pays perdu et hanté par l'épouvante des années 1915-1918, Sirouni entreprend l'évocation de la fin de l'Empire dans des récits et des pièces de théatre des années vingt et trente. Il fait de l'art une modalité de la survie. Mais cette écriture se mue progressivement en mémoires et en reconstitution historique (Constantinople et son r le, quatre volumes), comme si le regard tourné vers l'origine se refusait désormais les charmes de la fiction et de l'autobiographie pour s'adonner à un examen apparemment plus distancé, à une appropriation plus critique de la naissance et de la mort de l'Empire. Le récit historique se substitue au récit littéraire. On a parlé souvent d'un renoncement à la littérature, en ce qui concerne ce revirement. Et pourtant, l'Empire ottoman revisité dans ses archives ne cesse pas moins d'être l'objet désiré dont l'image fascine et déchire l'exilé doublement persécuté que fut Sirouni. This lecture is dedicated to the monumental works of Hagop Sirouni (Djololian, Turkey 1890-Bucarest 1973), a poet, novelist, litterary theorist and historian. Send in exile in Romania in 1923, he edited the periodical press Nawasart (1924-25) and other litterary publications in armenian and/or roumanian. Arrested in 1944 and condemned in a ten year sentence in a Siberian camp, Sirouni returns in Bucharest at the beginning of the fifties. Obsessed by the nostalgia of a country lost and haunted by the terror that came along with the years 1915-1918, Sirouni set about evoking the end of the Empire in the stories and theater pieces he wrote in the twenties and thirties. He transforms art into a modality of survival. This sort of writing is progressively transfigured in memories and historical reconstitution (Constantinople and its role, four volumes), as if the writer’s mind, now fixed towards the very beginning would refuse any of the charms of fiction or autobiography dedicating itself to a more distanced examination, a more critical interpretation of the birth and the demise of the Empire. The historical narrative substitutes the literary one. We have often talked of the renunci
The Ritual Year of the Icon of the Annunciation on the Island of Tinos, Greece  [PDF]
Evy Johanne H?land
Folklore : Electronic Journal of Folklore , 2011,
Abstract: After several mystical visions of the nun, Pelagia, the holy icon of the Annunciation of the Blessed Virgin (Panagia) was found in 1823. According to tradition, Pelagia repeatedly witnessed the Panagia in her visions where she received orders from her to find the Virgin’s icon and also to build her church. The icon was unearthed in the field where it had remained since the church, built on the ruins of a pagan temple, was destroyed in the 10th century. Two years before the icon was found, the Greek War of Independence broke out. The finding of the icon, the construction of the Church of the Panagia, Euangelistria, the enormous crowds of pilgrims and all the miracles worked by the icon, contributed to the outcome that the island was declared a sacred island, and Pelagiabecame sanctified.The ritual year of the miraculous icon on Tinos starts on 30 January with the festival dedicated to the Finding of the Icon. The next festival is dedicated to the Day of the Annunciation of the Virgin Mary. This day has both a religious and a national ideological significance, since 25 March is celebrated as Independence Day. July 23 is dedicated to the “Vision” of Saint Pelagia. The most importantfestival, the Dormition of the Panagia, is celebrated on 15 August.During the festivals official processions, carrying the icon in its midst, are important, but also popular customs related to the importance of fetching holy water and earth as well as the other symbols which have a long tradition within Greek religions.Accordingly, the article aims to present the ritual year of the miraculous icon on Tinos, thus exploring the relation between official and popular religion. Since several of the rituals and symbols recur across many religious groupings in the Middle East and Mediterranean, they might be studied from a comparative perspective, thus transcending European heritages: liberating the ethnologicalimagination.
From Istanbul to Hicaz Ottoman cities: according to a pilgrimage traveler
Sadettin Ba?türk
International Journal of Human Sciences , 2013,
Abstract: Manuscripts, regardless of which were written literary style, are primary sources for the writing of history. While benefiting from such sources as well as who is the author, whether or not the work copy of an author and the content must be taken into account.Haji Ali Effendi, a competent civil servant of the Ottoman Empire, carried out a pilgrimage on 1646. On the occasion of his pilgrimage in this article, Tuhfetü'l-Huccac which contains information about Ottoman cities will be assessed. This work was written as a type of literary travelogue.The book contains information on cities and towns on the right arm road route of the Ottoman between Istanbul-Hejaz. This work was written in XVII. century and copy of the author was subjected to scrutiny. Through this study, a work in XVII. century was revealed for the first time and presented to the realm of science as a source of first-hand.
G k eada - the Ottoman period architecture
Mesut Dündar
International Journal of Human Sciences , 2012,
Abstract: Located in the North-West part of Aegean Sea, Gokceada has an exceptional place due to its strategic position. Island with a historical background as old as ancient times was ruled by various civilizations such as Greek, Roman, Byzantine and Ottomans respectively. This study includes architectural evolution of the island under Ottoman rule, compromising of vast cultural wealth. The objective of this study is to research and introduce architectural structures of the island reflecting urban settlements and settlement texture of the island during Ottoman rule which lasted for 450 years, such as residences, shops, fountains, laundry, mill, church, chapel, mosque and different workshops and to hand down this material culture heritage to next generations as well as providing contribution in connection with the gap that exists due to lack of the studies on Ottomans. Within this context, priority was given to review of literature and archives and then data required for field research fundamental to this study was collected. Data collected as a result of literature review and field research were assessed to complete this research. In this study, attempt was made to provide importance of structures in terms of general characteristics and their place in settlement texture upon selecting certain examples in accordance with the type of structures rather than introducing structures of the island one by one. At the same time, influence of Anatolia on Gokceada architecture which is subject to traditions of Aegean Islands was emphasized and reflection of both different cultures on architecture was addressed. In conclusion, it was seen that important part of the island’s settlements showing local characteristics of rural areas were established during the Ottomans and these settlements based on conventional architecture accommodate a rich architectural culture where Anatolian styles are existent as well
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