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7 Introduction Images are not only produced and presented to be looked at. They are created, used, and circulated as agents of opinion-forming processes, societal transforma- tion, and political change. In historical visual cultures, politically and religiously motivated image practices have a

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In: Bildagenten
Author: Amy L. Neff

life of Christ. The first pair of window lancets juxtaposes scenes from Christ’s infancy with Old Testament types, while scenes from Christ’s ministry are in the center, and the third pair of lancets to the right contains images of the Passion. These stained- glass scenes occupy a privileged

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In: Transcultural Imaginations of the Sacred
Author: Birgit Mersmann

contem- porary art on a global scale, resulting in what has been designated as global art activism or in short: artivism.1 Socially and politically engaged artists have found new missions in intervening in the public sphere at the interface between state governance and civil community life in order to

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In: Bildagenten
Author: Carlos Fraenkel

nobility. At the same time they are also unable to understand how God as the first cause relates to a virtuous life. Hence, they lose both their belief in God and their belief in the goodness of living virtuously. Time and again, Averroes criticizes Muslim theologians who »strayed and led astray« for

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In: Enthüllen und Verbergen in der Vormoderne / Revealing and Concealing in the Premodern Period

Chí Minh, a statesman and revolutionary leader whose iconic representations are not only displayed in the public and private spheres, but are also to be found in Buddhist pagodas. This contribution explores the veneration of Hò̂ Chí Minh, who was already considered a deity during his life- time

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In: Bildagenten
Author: Ebba Koch

and transformation of the figure was an ancient Indian one – namely, to celebrate the woman as devotional object. This discourse motivated me, in turn, to regard the Pietas Regia as a model for erotic Mughal representations of Laila, the be- loved of Majnun and the unhappy romantic lover of Persian

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In: Transcultural Imaginations of the Sacred

the area in front of the door as a place of the expelled. The depicted scene of the Expulsion from Paradise, in which Adam and Eve are shown shortly before crossing through a door, already visualizes the idea that humanity’s earthly life was preceded by a banishment and that earthly existence is

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In: Enthüllen und Verbergen in der Vormoderne / Revealing and Concealing in the Premodern Period
Author: Petra Winter

be easy. But we will succeed at it. The view of the ruins of Potsdam and Berlin that I now have to stroll through each day should not be a cause for depression, but motivate me to new achievements.” 6 Museumsinsel (Museum Island), just like Berlin’s entire city center, was indeed a depressing sight

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In: "Entartete Kunst" in Breslau, Stettin und Königsberg
Author: Ulrike Boskamp

Wight were produced by artists who were travelling as tourists and were part of the larger British craze for picturesque travelling in the late eighteenth century. This aesthetically motivated travel and art practice sought new destinations within the country, with a notable preference for wild and

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In: The Itineraries of Art

celebrated for their proximity to the people and the “primevalness of their Silesian essence”. 21 Living in simple circumstances was also used as an argument in the case of Erich Fuchs. Fuchs, who had been documenting everyday life in the Sudetes region already for several years before the Nazis came to

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In: "Entartete Kunst" in Breslau, Stettin und Königsberg