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General principles of dreams imagery in visual culture
Šmejkalová, Adriana ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee)
This thesis is based on the assumption that a dream is "thinking in pictures" and as such can result in unchained and free artwork. Nevertheless, we conclude that authentic dreams in the form of pictures and text were not found before Albrecht Dürer's work. On the other hand, artistic concepts of dreams generally used the symbolic language of timeless oral tradition over the centuries, supported by Greek myths and stories of rich Hebrew oral tradition. This work emphasises the lack of preserved monuments and the process during the time that Greek culture was adopted by the Romans. It mentions works of art inspired by dream formation, quotes Greek and Roman philosophers' beliefs on dreams and clarifies the formation of the allegoric method of interpretation that affected the medieval approach to dreams. It presents Early Church Fathers' concerns in relation to dreams through which the human mind can be controlled by both God and Satan. The chapter on medieval narrative picture cycles explores in greater detail established picture schemes where in addition to biblical dreams, papal and royal dreams are also presented. From the 12th and 13th centuries, works of art associated with dreams and new Franciscan, Carmelite and Benedictine orders were created. The Renaissance period opens with a reminder of lasting...
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The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries. Creative Individuality versus the Chaos of the Time
Šmejkalová, Adriana ; Wittlich, Petr (advisor) ; Prahl, Roman (referee) ; Winter, Tomáš (referee)
ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...
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General principles of dreams imagery in visual culture
Šmejkalová, Adriana ; Hlaváčková, Jana Hana (referee) ; Konečný, Lubomír (advisor)
This thesis is based on the assumption that a dream is "thinking in pictures" and as such can result in unchained and free artwork. Nevertheless, we conclude that authentic dreams in the form of pictures and text were not found before Albrecht Dürer's work. On the other hand, artistic concepts of dreams generally used the symbolic language of timeless oral tradition over the centuries, supported by Greek myths and stories of rich Hebrew oral tradition. This work emphasises the lack of preserved monuments and the process during the time that Greek culture was adopted by the Romans. It mentions works of art inspired by dream formation, quotes Greek and Roman philosophers' beliefs on dreams and clarifies the formation of the allegoric method of interpretation that affected the medieval approach to dreams. It presents Early Church Fathers' concerns in relation to dreams through which the human mind can be controlled by both God and Satan. The chapter on medieval narrative picture cycles explores in greater detail established picture schemes where in addition to biblical dreams, papal and royal dreams are also presented. From the 12th and 13th centuries, works of art associated with dreams and new Franciscan, Carmelite and Benedictine orders were created. The Renaissance period opens with a reminder of lasting...
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General principles of dreams imagery in visual culture
Šmejkalová, Adriana ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee)
This thesis is based on the assumption that a dream is "thinking in pictures" and as such can result in unchained and free artwork. Nevertheless, we conclude that authentic dreams in the form of pictures and text were not found before Albrecht Dürer's work. On the other hand, artistic concepts of dreams generally used the symbolic language of timeless oral tradition over the centuries, supported by Greek myths and stories of rich Hebrew oral tradition. This work emphasises the lack of preserved monuments and the process during the time that Greek culture was adopted by the Romans. It mentions works of art inspired by dream formation, quotes Greek and Roman philosophers' beliefs on dreams and clarifies the formation of the allegoric method of interpretation that affected the medieval approach to dreams. It presents Early Church Fathers' concerns in relation to dreams through which the human mind can be controlled by both God and Satan. The chapter on medieval narrative picture cycles explores in greater detail established picture schemes where in addition to biblical dreams, papal and royal dreams are also presented. From the 12th and 13th centuries, works of art associated with dreams and new Franciscan, Carmelite and Benedictine orders were created. The Renaissance period opens with a reminder of lasting...
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