La historia del arte recoge diversos tipos de mandorla
: ovaladas, ovaladas apuntadas o redondas.
| Ano [grabado xilografico que representa a la Inmaculada Concepcion en el interior de la mandorla
, rodeada de sus atributos litanicos] 1670.
1410, described by Gibson in The Theater of Devotion, in which the fetal John the Baptist kneels among the "sculptured bowels of his mother" while the fetal Jesus "waits not among detailed intestines but within a mandorla
of glory on which traces of gold paint are still visible" (8).
From her exploration of female spirituality in its Gaia manifestation with The Singing (1989), two massive female heads emerging from the ground, their open mouths chthonic gateways, Klix started experimenting with earth vulvas, mandorla
shaped clay vessel forms representing the creative feminine principle.
The central, vertical oval is reminiscent of a mandorla
in which, in romanesque art, Christ sits in majesty.
treats the history of these icons as a history of "the exegesis of iconographers." His analysis deals with the range of meanings for the different depictions of the mandorla
(the oval or circle behind Christ), the relative division of space in the icon (particularly the height of Mt.
The tree is symmetrical, with six branches and a mandorla
all connecting to the strong wide trunk, as round and supportive as a cathedral pier.
One of the earliest mentionings of a professional artist is in the inscription on the back of the mandorla
of the Shaka Triad, a large gilt bronze icon belonging the Golden Hall of Horyuji, Nara prefecture, dating to the early seventh century.
They were also able to investigate literally hundreds of traditional book design elements such as carlouche, fleuron, mandorla
, and tabula ansata as part of the larger project.
. Department of English, Campus Box 4240, Illinois State University, Normal, IL 617904240.
(54) The trinity appear in a mandorla
, and above them the Virgin in a golden halo presides over five figures kneeling in prayer in front of a small brick church.
How did Pollaiuolo read the three Herculean representations of the Porta della Mandorla
? Why did Andrea Doria's oar later become a trident in Bronzino's works?