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Dissertations / Theses on the topic 'Early Christian art'
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Jefferson, Lee M. "The image of Christ the miracle worker in early Christian art." Diss., Freely available online, 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-09052008-145010/.
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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.
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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.
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Friesen, Alysha Brayer. "Etiquette and the Early Roman Christian Basilica: Questions of Authority, Patronage, and Reception." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197991.
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Art HistoryM.A.
The genesis of the early Roman Christian basilica occurred at a moment of historical transition as the emperor and the empire began the process of converting to the Christian religion. Typically, this era has received scholarly treatment either as the end of a time in which the emperor held supremacy or the beginning of one dominated by bishops. The exact moment of `redefinition,' however, has rarely attracted attention because of the assertive oligarchies that bookended this transitional period, the Roman emperor and the Christian pontificate. Richard Krautheimer, who focused much of his attention on the historical figure of Constantine, promoted the idea that the basilica was Constantine's way of imbuing the Christian church with imperial authority and connotations; effectively, Constantine forever changed the shape of Christian churches. This explanation of the pivotal moment of genesis has been generally accepted and the moment of transition has not received much attention from scholars since. In my thesis I will focus primarily on this moment of transition. I will explore the political climate of the government, the authoritative hierarchy of the church, and the precedents of the very first early Roman Christian basilica, at the Lateran. The method that I will employ is the theory of etiquette, operating under the assumption that in every historical period, there is a general understanding of what is `fitting' and `appropriate.' Because of the paucity of material evidence and the unreliability of surviving primary sources, it is generally impossible to make incontestable statements about who was responsible for the early Roman Christian basilica, what they intended to convey to the Roman population, and how appropriate it would have been given the social decorum of the time. Thus, conclusions of this nature are not the primary focus of this thesis. Instead I will concentrate on reconstructing who the most appropriate agent of authority is, and how suitable the early Roman Christian basilica might have seemed.
Temple University--Theses
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Tatham, Gail Constance, and n/a. "Stories of Moses and visual narration in Jewish and early Christian art (3rd century AD)." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080318.163116.
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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model.
Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled.
During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.
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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.
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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.
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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.
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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.
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Ingle, Gabriela Elzbieta. "The significance of dining in Late Roman and Early Christian funerary rites and tomb decoration." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25949.
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The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.
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Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.
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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.
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Osbourne, Gavin. "Mosaics of power : superstition, magic and Christian power in early Byzantine floor mosaics." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54017/.
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This thesis argues that some Early Byzantine floor mosaics had, in addition to a practical and decorative role, a supernatural function. By this I mean the images and words depicted within the mosaic were perceived as devices to attract powers from a supernatural dimension, for the benefit of those that walked over the mosaic or the building that housed it. The thesis is ultimately a discussion of the Byzantines' beliefs in the power of art and text, and how they were believed to intervene and affect everyday life. My examination is carried out with a focus on the floor mosaics produced between the fourth and seventh centuries in the Byzantine Empire. Using an iconographic methodological approach, the thesis explores how certain images and words incorporated within mosaic designs can be seen in supernatural terms. To do so, comparable material objects with clearer supernatural functions will be examined. Primary sources that indicate how certain motifs were perceived to bring about powers will also be analysed. In this thesis, I analyse the different kinds of devices that were depicted to attract supernatural powers and explore why those devices were believed to have the ability to generate powers. The thesis illustrates how power could be seen as being rooted in Christianity, magic or more unclear sources. Expanding on this discussion, I explore how a single mosaic could incorporate elements from several sources, dispelling scholarship that portrays the Early Byzantine period as predominately influenced by Christianity. The other key function of the thesis is to emphasise the fact that mosaics can be considered in terms of the conscious design process of their construction, placing them within the same category as gemstones and icons in terms of purposeful objects.
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Buchenau, Stefanie. "The art of invention and the invention of art : logic, rhetoric and aesthetics in the early german Enlightenment." Lyon, Ecole normale supérieure, 2004. http://www.theses.fr/2004ENSF0013.
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Ce travail cherche à réévaluer la signification de l'esthétique de la "Frühaufklarung" dans l'histoire de l'esthétique moderne. Contre le discours classique de la littérature secondaire qui le plus souvent réduit cette esthétique à une préfiguration imparfaite de l'esthétique kantienne et postkantienne, il montre que les "Frühaufklärer" ne fondent pas seulement une tradition esthétique moderne, mais qu'ils défendent un projet cohérent et original; il convient en effet de situer leur esthétique dans le contexte du débat moderne sur "l'ars inveniendi" initié par Francis Bacon et développé par ses successeurs à l'Age classique tels que René Descartes, Gottfried Wilhelm Leibniz et Walter Ehrenfried Tschirnhaus et aussi, à l'aune du XVIIIème siècle, par Christian Wolff. Après avoir examiné les prémisses épistémologiques modernes de ce débat sur l'invention, cette étude analyse les contributions de Wolff et de ses disciples Johann Jacob Breitinger, Johann Christoph Gottsched et Alexander Gottlieb Baumgarten. Wolff introduit un tournant dans le débat antérieur en intégrant une philosophie des arts à l'intérieur de l'art d'invention général. Ses disciples transposent le paradigme heuristique moderne de la science et de la philosophie à la poésie et aux arts de représentation. Selon eux, le poète imite la nature en ce sens qu'il découvre une nature inconnue. De ce nouveau paradigme heuristique découle une nouvelle conception de la critique littéraire comme servant à la fois de méthode de jugement et d'invention. Baumgarten introduit une nouvelle perspective rhétorique, en réintroduisant l'idée cicéronienne d'invention (philosophique et rhétorique) au sein d'un contexte "logique" moderne : le vrai philosophe doit inventer des arguments à la fois cohérents et convaincants. Cette idée est au fondement de sa construction d'une seconde méthode d'invention, outre l'analyse logique, qu'il appelle "esthétique". Or cette addition d'une nouvelle discipline au sein de "l'organon" affecte le système philosophique tout entier et la psychologie et la philosophie pratique en particulier. Baumgarten propose une nouvelle division des facultés supérieures et inférieures et réserve un nouvel espace pour l'art et l'esthétique à l'intérieur de la philosophie pratiqueThis work is an attempt to reassess the significance of early German Enlightenment aesthetics in the history of modern aesthetics. Against the common reading that assigns early German Enlightenment aesthetics the status of an imperfect prefiguration of Kantian and post-Kantian aesthetics, I argue that the "Frühaufklärer" not only found a genuinely modern aesthetic tradition, but that they defend a consistent and original project : their aesthetics must be viewed in the context of the modern debate on the "ars inveniendi" initiated by Francis Bacon and developed by his early modern followers, including Christian Wolff. After examining the modern epistemological premises of the debate on invention. I investigate the contributions of Wolff and his pupils, namely Johann Jacob Bodmer and Johann Jacob Breitnger, as well as Johann Christoph Gottsched and Alexander Gottlieb Baumgarten. Wolff himself introduces a turn within the earlier debate on invention in that he includes a philosophy of the arts within his general art of invention. His pupils transpose the modern heuristic paradigm from science and philosophy to poetry and the representative arts : the poet imitates nature insofar as he unveils hidden aspects of nature. From the modern view of inventio, they furthermore draw conclusions on the nature of art criticism as both a method of judgment and of invention. Baumgarten introduces a rhetorical shift within the former debate; he reintroduces a Ciceronian idea of invention concerning both logic and rhetoric within the modern logical context : the true philosopher must find arguments that are both consistent and convincing. But while Baumgarten's addition of aesthetics to logic as a second method of invention conforms to the modern paradigm of invention, it deeply changes the nature o f the "organon". These changes in turn affect the system itself, psychology and practical philosophy in particular. Baugmarten proposes a new division of the higher and lower faculties of the soul, and he carves out a space for art and aesthetics in practical philosophy
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Bai, Mengtian. "Yangzhou Latin Tombstones: A Christian Mirror of Yuan China Society." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1530141020070354.
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O'Meadhra, Uaininn. "Early Christian, Viking and Romanesque art : motif-pieces from Ireland. 2, A discussion on aspects of find-context and function." Doctoral thesis, Stockholms universitet, Humanistiska fakulteten, 1987. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-84363.
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Dascal, Elana. "Reading midrash as graphic artistic activity, the compilations of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43850.pdf.
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Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.
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Billot, Bertrand. "Le Christ thaumaturge et magicien : les miracles dans l'art paléochrétien (IIIe - VIème siècle)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H028.
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Cette thèse propose une nouvelle approche des images des miracles du Christ, entre le IIIe et le VIe siècle, basée sur un corpus aspirant à l'exhaustivité. Les images sont dans un premier temps étudiées de manière analytique et structurale : chacun des trente-quatre miracles de Jésus fait l'objet d'une analyse détaillée en ce qui concerne le texte biblique, les représentations paléochrétiennes et les commentaires patristiques contemporains. Les images sont ensuite replacées dans leur contexte historique, social, spatial et théologique, dans une perspective sérielle et statistique, dans le but de reconsidérer leurs fonctions diversifiées. Enfin, un essai d'interprétation synthétique explore au moyen du corpus des miracles la question, très discutée dans l'historiographie, du rapport entre l'activité thaumaturgique du Christ et celle des magiciens et faiseurs de prodiges dans l'Antiquité tardiveThis thesis proposes a new approach of the images of Christ as a miracle worker, between the 3rd and the 6th century, based on a corpus which aims for exhaustivity. In a first time, images are both analyzed in an analytical and structural way : each of the thirty-four miracles of Jesus is the subject of a detailed analysis of the biblical tex t; early Christian representations and contemporary patristic commentaries. Images are then replaced in their historical, social, spatial and theological context, from a serial and statistical perspective, in order to reconsider their diversified functions. Finally, this work explores, through the corpus of miracles, the question often debated in historiography, of the relationships between the thaumaturgical activity of Christ and that of magicians and prodigies makers in Late Antiquity
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Sutherland, Reita J. "Prayer and Piety: The Orans-Figure in the Christian Catacombs of Rome." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24259.
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The orans, although a gesture with a long ‘pagan’ past, was easily adopted by Christians for its symbolic meanings of prayer and piety and quickly attained a number of other more nuanced meanings as it was refined and reused. By restricting the scope of this thesis to the orans in the Christian catacombs of Rome, it becomes possible to approach the figure from a multi-directional perspective, not merely concerned with what the gesture meant to the Christian, but with its literary and material pedigrees, its transition to Christian art, and its cultural significance.
To this end, chapter one examines ‘pagan’ precursors of the Christian orans through an examination of coins, sculptures, inscriptions, and reliefs, as well as by looking at the two figures whose appearance most influences that of the orans – the goddess Pietas, and the Artemisia-Adorans funerary portrait type. Chapter two addresses the importance of the orans in the Christian literary community, and examines not only the actual usage of prayer with raised hands by the Christian faithful, but also examines the aesthetic and theological reasons for the popularity of the gesture – the parallel between the spread arms of the orans and the posture of the crucified Christ. Finally, chapter three presents a spatial-thematic analysis of the usage of the orans in the Roman Christian catacombs, using a corpus of 158 orantes. This chapter enables the reader to draw conclusions about the veracity of the academic theories presented in the previous chapters, as it compares the usage of the orans against its scholarly interpretation.
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Jacobs, Philip Walker. "The reception history and interpretation of the New Testament portrayals of Joseph the carpenter in nativity and infancy portrayals in early Christian and early medieval narratives and art from the second-cenury to the ninth century CE." Thesis, Bangor University, 2013. https://research.bangor.ac.uk/portal/en/theses/the-reception-history-and-interpretation-of-the-new-testament-portrayals-of-joseph-the-carpenter-in-nativity-and-infancy-portrayals-in-early-christian-and-early-medieval-narratives-and-art-from-the-second-century-to-the-ninth-century-ce(ce638107-800d-44d0-9405-56f3f763ccc9).html.
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This thesis undertakes the task of tracing and documenting the development of the Wirkungsgeschichte of the portrayals of Joseph in the canonic gospels of Matthew, Luke, and John, within early Christian and early medieval narratives and art between the period of approximately 150 CE and 800 CE. After providing an initial review of the current state of scholarly research into the subject of the development of the Wirkungsgeschichte of the canonical portrayals of Joseph in Part I, this study then provides a detailed reading, by means of literary and narrative analysis, of the portrayals of Joseph in Matthew, Luke, and John in Part 11. The thesis then traces and documents the development of these earlier portrayals of Joseph in four non-canonic narratives, the Infancy Gospel of James, the Infancy Gospel of Thomas, the History of Joseph the Carpenter, and the Gospel of Pseudo-Matthew and in eighteen works of art, in Parts III and IV . IIJ the process of this analysis several different concerns are addressed. These include: the date, provenance, purpose, and content of the various narratives and compositions; the characterization of Joseph they portray; the independence and distinctiveness these later literary and artistic representations of Joseph exhibit from earlier canonic and non-canonic literary referents and prior artistic creations of Joseph; and the different perceptions and beliefs narrators and artists and their respective ecclesiastical communities held with regard to Joseph. At the same time, consideration is given to the prospect of patterns or trajectories that might emerge as the review occurs. Attention to the development of this in the four non-canonic narratives leads to the discovery of the presence of two trajectories - one that affirms, enhances, and continues the positive narrative portrayals of Joseph found in the canonic literature (and is found to be present in two of these texts); the other that diminishes these portrayals (and is found to be present in the other two texts).
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Rochard, Héléna. "Les peintures murales des "chapelles" de Baouît (VIe-IXe siècles) : images d’une communauté monastique en Égypte byzantine et arabe." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP012.
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Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienneSince their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality
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Kiracofe, James Bartholomay. "Architectural fusion and indigenous ideology in early colonial Mexico : a case study of Teposcolula, Oaxaca, 1535-1580, demonstrating cultural transmission and transformation through negotiation and consent in planning a new urban environment /." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-11082006-133633/.
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Parker, David C. "Codex Bezae : an early Christian manuscript and its text /." Cambridge ; New York ; Melbourne : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35718843w.
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Ridings, Daniel. "The attic Moses : the dependency theme in some early christian writers /." Göteborg : Acta universitatis Gothoburgensis, 1995. http://catalogue.bnf.fr/ark:/12148/cb37018647s.
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Taylor, Miriam S. "Anti-judaism and early christian identity : a critique of the scholarly consensus /." Leiden : E. J. Brill, 1995. http://catalogue.bnf.fr/ark:/12148/cb35722329q.
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Menzies, Robert Paul. "The development of early Christian pneumatology : with special reference to Luke-acts /." Sheffield : JSOT press, 1991. http://catalogue.bnf.fr/ark:/12148/cb36655161z.
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Rhee, Helen. "Early Christian literature : Christ and culture in the second and third centuries /." London : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb41169614j.
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Texte remanié de: Ph.D. dissertation--Center for Advanced Theological Studies, School of Theology, Fuller Theological Seminary.La page de couverture porte en plus : "The Apologies, apocryphal acts and martyr acts" Bibliogr. p. 228-259.
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Myers, Joyce Eady Morrison George S. "Children's spiritual development analysis of program practices and recommendations for early childhood professionals /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12169.
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Rissanen, Seppo. "Theological encounter of oriental Christians with Islam during Early Abbasid Rule /." Åbo : Åbo akademis förlag, 1993. http://catalogue.bnf.fr/ark:/12148/cb36956164r.
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Robinson, Heather Lindsey. "Ours is the Kingdom of Heaven: Racial Construction of Early American Christian Identities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849673/.
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This project interrogates how religious performance, either authentic or contrived, aids in the quest for freedom for oppressed peoples; how the rhetoric of the Enlightenment era pervades literatures delivered or written by Native Americans and African Americans; and how religious modes, such as evoking scripture, performing sacrifices, or relying upon providence, assist oppressed populations in their roles as early American authors and speakers. Even though the African American and Native American populations of early America before the eighteenth century were denied access to rights and freedom, they learned to manipulate these imposed constraints--renouncing the expectation that they should be subordinate and silent--to assert their independent bodies, voices, and spiritual identities through the use of literary expression. These performative strategies, such as self-fashioning, commanding language, destabilizing republican rhetoric, or revising narrative forms, become the tools used to present three significant strands of identity: the individual person, the racialized person, and the spiritual person. As each author resists the imposed restrictions of early American ideology and the resulting expectation of inferior behavior, he/she displays abilities within literature (oral and written forms) denied him/her by the political systems of the early republican and early national eras. Specifically, they each represent themselves in three ways: first, as a unique individual with differentiated abilities, exceptionalities, and personality; second, as a person with distinct value, regardless of skin color, cultural difference, or gender; and third, as a sanctified and redeemed Christian, guaranteed agency and inheritance through the family of God. Furthermore, the use of religion and spirituality allows these authors the opportunity to function as active agents who were adapting specific verbal and physical methods of self-fashioning through particular literary strategies. Doing so demonstrates that they were not the unrefined and unfeeling individuals that early American political and social restrictions had made them--that instead they were intellectually and morally capable of making both physical and spiritual contributions to society while reciprocally deserving to possess the liberties and freedoms denied them.
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Turner, Martha Lee. "The Gospel according to Philip : the sources and coherence of an early Christian collection /." Leiden ; New York ; Köln : E. J. Brill, 1996. http://catalogue.bnf.fr/ark:/12148/cb36700161w.
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Incigneri, Brian, and res cand@acu edu au. "My God, My God, Why Have You Abandoned Me? : The setting and rhetoric of Mark's Gospel." Australian Catholic University. School of Theology, 2001. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp6.19072005.
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This study proposes that the design of Mark's Gospel is best appreciated by recognising the particular political, social and religious situation that gave rise it, and by taking into account the concerns, experiences and emotions of both the author and the intended readers. It is argued that proposals for an Eastern provenance lack evidence and plausibility, and that the Gospel was written in Rome. The time of writing is identified as the latter months of 71, as the Gospel contains a number of indications that the Jerusalem Temple had been destroyed and that the Triumph of Vespasian and Titus in July/August 71 had recently occurred. Moreover, there are several allusions to events that had occurred within a year or two prior to that date. An investigation of the political and social situation shows that Christians had reason to be fearful, especially after the return of Titus. Through an examination of the rhetorical techniques contained within the text, it is proposed that the Gospel was a response to the protracted suffering of the Christians of Rome, addressing their doubts about God in the face of Roman power, their fear of further executions, and stresses within the community caused by apostasy and betrayal. Paying close attention to the mood of the text, an analysis of Mark's rhetoric shows how it responds to the readers' anxieties (including fear of delation), counters Flavian propaganda, and provides hope and strength. As appeals to the emotions were regarded as a key tool of ancient rhetoric, careful attention is paid to their use throughout the Gospel, showing that Mark produced a text full of pathos, matching the highly stressful atmosphere, and placing the readers' cries for help and prayers into the mouths of characters. In repeatedly stirring the readers' emotions by reminding them of their own painful experiences and by alluding to contemporary events and social attitudes, Mark explains why they are persecuted, and helps them to deal with their fear. He portrays Jesus as the one who had led the way by accepting martyrdom for the gospel in similar circumstances. He shapes many scenes to remind them of their Roman situation, especially the trials and executions of fellow Christians. Mark's rhetorical use of the disciples is also explored, showing that he aimed to elicit sympathy for those who had failed under pressure, which indicates that he was advocating their readmittance into the community. It is proposed that reading the Gospel as rhetoric addressed to this situation provides a quite different view of its nature, design and purposes, and gives a very different perspective to a number of debated issues within Markan scholarship.
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Smith, Terence V. "Petrine controversies in early christianity : attitudes towards Peter in Christian writings of the first two centuries /." Tübingen : J.C.B. Mohr, 1985. http://catalogue.bnf.fr/ark:/12148/cb348822093.
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Thomson, Donna R. "Growing in Favor with God: Young Children's Spiritual Development and Implications for Christian Education." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9823/.
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Experts do not agree on the definition of spiritual development although positive spiritual development benefits society in many ways. Without agreement on the definition of spiritual development and a common understanding of spiritual development, parents, teachers, and pastors who are entrusted with the task of fostering positive spiritual development in Christian settings face the challenges of determining what spiritual development is (definition), the desired goals (culmination) of spiritual development, and the most effective ways to meet those goals (context and content). The purpose of this study was to use data, from the social sciences and Christian points of view, to inform Christian education programs and arrive at recommendations for fostering young children's spiritual development. Data sources include textual literature from the social science and Christian points of view. In addition, the researcher gathered interview data from twenty children's pastors. Research results included: 1. It is possible that spirituality is associated with sensory awareness. 2. Examining spirituality as sensory awareness may lead to focusing on innate qualities of spiritual capacity with a more focused inclusion of children with special needs in faith-based programs, a God-given conscience, and consideration that children may be born with spiritual gifts to express their spiritual nature. 3. Congregations/parishes under utilize intergenerational activities, time for quiet and reflection, and opportunities to talk to children about spiritual matters.
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Harvey, Graham. "The true Israel : uses of the names Jew, Hebrew and Israel in ancient Jewish and early Christian literature /." Leiden ; New York ; Köln : E. J. Brill, 1996. http://catalogue.bnf.fr/ark:/12148/cb36700013r.
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Powers, Daniel G. "Salvation through participation : an examination of the notion of the believers' corporate unity with Christ in Early Christian soteriology /." Leuven ; Paris ; Sterling (Va.) : Peeters, 2001. http://catalogue.bnf.fr/ark:/12148/cb38856319k.
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au, M. Marshall@murdoch edu, and Mary Jeanette Marshall. "Jesus and the banquets : an investigation of the early Christian tradition concerning Jesus' presence at banquets with toll collectors and sinners." Murdoch University, 2002. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051110.163641.
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The topic is approached from the perspective of table fellowship, the primary focus being Jesus' commensality with toll collectors and sinners. The fundamental hypothesis is that Jesus typically arrived akletos at meals as an itinerant stranger, and that this explains the epithet "glutton and drunkard."
Part One sets the parameters, and delineates the materials, methods, and approach adopted in the study. In Part Two, ancient traditions of hospitality and feasting are examined, providing the background material for exegesis of relevant NT texts in Part Three.
It is found that toll collectors represent hosts to Jesus, while "sinners" gain entry to meals as his umbrae. Both groups are eligible for the kingdom, as are paidia (young slaves/servants), who exemplify humility. Some possible reasons are advanced for Jesus' criticism of Pharisees, but it is emphasised that they are not implicated in his death. The importance of hospitality is indicated by the fact that reception of Jesus and/or his disciples necessarily entails an invitation to a shared meal. In contrast, merely giving alms to strangers/wayfarers who seek hospitality signifies rejection. Any such breach of hospitality mores will incur harsh punishment at the final judgment.
The supposition that Jesus was a guest at the Last Supper allows for an innovative interpretation of his words and actions, particularly since it is proposed that as well as the Twelve, akletoi were present, viz. women, slaves/servants, and possibly Gentiles. It is suggested that the depiction of Jesus in the Synoptics may have been influenced by a pre-existing literary archetype that facilitated the combination of some fictional characteristics with historical elements. The proposed reconstruction of the historical Jesus demonstrates the centrality of hospitality, commensality, and humility in his teaching and practice, a finding that is consistent with the ideals and table fellowship of early Christian communities. The apparent dichotomy between hospitality and hostility indicates a need to follow Jesus' injunction to love one's enemies, i.e. to practise philoxenia.
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Myers, Joyce Eady. "Children's Spiritual Development: Analysis of Program Practices and Recommendations for Early Childhood Professionals." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12169/.
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The purpose of this study was to determine the extent to which faith-based preschools promote spiritual development in preschoolers. The participants in the study were faith-based early childhood teachers and administrators from seven states. Early childhood professionals representing 11 Christian faith traditions completed written surveys or online surveys. A total of 201 faith-based educators completed the survey; 20 respondents participated in semi-structured interviews. The concurrent triangulation mixed-method design provided data on 8 program dimensions which support children's spiritual development: prayer, Bible literacy, worship, building character, service opportunities, assessment, parental involvement and context. I analyzed quantitative data using descriptive and inferential statistics. All items were examined using mean, standard deviation, frequency, and percentages. Qualitative data gathered from semi-structured interviews were coded and analyzed using NVivo8® qualitative analysis software (QSR International, Inc., Cambridge, MA, http://www.qsrinternational.com). From this data I identified the extent to which faith-based preschool programs support children's spiritual development through the practices of prayer, Bible literacy, worship, building character, service opportunities, assessment, parental involvement and context. Data analyses revealed statistically significant differences in faith-based teachers' hours of training in children's spiritual development across all program practice dimensions. A key finding of the study was that training in children's spiritual development is important regardless of the education level of the early childhood professional. Qualitative data indicated no standardized spiritual development training in faith-based preschools represented in this study. The mixed-method analysis revealed that the 8 program practice dimensions were not always connected in a framework that supported children's spiritual development. Recommendations for professional practice include a program framework to support children's spiritual development in faith-based preschool programs; training for faith-based early childhood professionals in children's spiritual development; and formulating a definition of children's spiritual development.
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Ridley, Sarah Elizabeth. ""That Every Christian May Be Suited": Isaac Watts's Hymns in the Writings of Early Mohegan Writers, Samson Occom and Joseph Johnson." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984204/.
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This thesis considers how Samson Occom and Joseph Johnson, Mohegan writers in Early America, used the hymns of English hymnodist, Isaac Watts. Each chapter traces how either Samson Occom or Joseph Johnson's adapted Isaac Watts's hymns for Native communities and how these texts are sites of affective sovereignty.
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Hodacs, Hanna. "Converging world views : the European expansion and early-nineteenth-century Anglo-Swedish contacts /." Uppsala : Uppsala universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb399622233.
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Abunasser, Rima Jamil. "Corporate Christians and Terrible Turks: Economics, Aesthetics, and the Representation of Empire in the Early British Travel Narrative, 1630 - 1780." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4444/.
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This dissertation examines the evolution of the early English travel narrative as it relates to the development and application of mercantilist economic practices, theories of aesthetic representation, and discourses of gender and narrative authority. I attempt to redress an imbalance in critical work on pre-colonialism and colonialism, which has tended to focus either on the Renaissance, as exemplified by the works of critics such as Stephen Greenblatt and John Gillies, or on the later eighteenth and early nineteenth centuries, as in the work of scholars such as Srinivas Aravamudan and Edward Said. This critical gap has left early travel narratives by Sir Francis Moore, Jonathan Harris, Penelope Aubin, and others largely neglected. These early writers, I argue, adapted the conventions of the travel narrative while relying on the authority of contemporary commercial practices. The early English travelers modified contemporary conventions of aesthetic representation by formulating their descriptions of non-European cultures in terms of the economic and political conventions and rivalries of the early eighteenth century. Early English travel literature, I demonstrate, functioned as a politically motivated medium that served both as a marker of authenticity, justifying the colonial and imperial ventures that would flourish in the nineteenth century, and as a forum for experimentation with English notions of gender and narrative authority.
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Di, Croce Alessandra. "Sacred Fragments: The reception of Christian Antiquity in post-Tridentine Rome." Thesis, 2017. https://doi.org/10.7916/D8VH617S.
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This dissertation analyzes cultural attitudes and modes of reception of Christian antiquity and Early Christian art in late sixteenth-century post-Tridentine Rome, and its effects on the antiquarian, historical, and artistic culture of the time. It challenges the established scholarly paradigm that Christian archaeology was an apologetic discipline and the by-product of Catholic ideology, and argues instead that the discovery and investigation of Christian antiquity was instrumental to the critical reappraisal of the methods of classical historical scholarship, leading to a fundamental revolution in both historical and antiquarian method, and artistic taste. With their unrefined formal qualities, rather unappealing to eyes still accustomed to Renaissance style, Early Christian artifacts played a fundamental role in establishing less narrow criteria to approach and assess art beyond the classical canon, paving the way for a new and more favorable evaluation of art objects hitherto ignored when not despised.
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Benay, Erin. "The pursuit of truth and the Doubting Thomas in the art of early modern Italy." 2009. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052251.
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Pitts, Tom Richardson. "The origin and meaning of some Saint Joseph figures in early Christian art." 1988. http://catalog.hathitrust.org/api/volumes/oclc/21952020.html.
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Magill, Kelley Clark. "The catacombs, martyrdom, and the reform of art in Post-Tridentine Rome: picturing continuity with the Christian past." Thesis, 2014. http://hdl.handle.net/2152/30321.
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The fortuitous discovery of early Christian images adorning the catacombs on Via Salaria in 1578 enabled scholars to address urgent, contemporary problems concerning the Catholic tradition of image veneration, which had been attacked by Protestant iconoclasts. Although the catacombs had been important devotional sites for the cult of martyrs and relics throughout the Middle Ages, the 1578 catacomb discovery was the first time that Romans connected the catacombs with the early Christian cult of images. Only after 1578 did scholars and antiquarians begin to collect and study early Christian frescoes and antiquities found in Rome’s numerous catacomb sites. Their research culminated in the publication of Antonio Bosio’s Roma sotterranea (1635), the first treatise on the Roman catacombs. After the Council of Trent (1545–1563), Catholic scholarship on the catacombs defended the early Christian origins of the cult of martyrs, relics, and images. I argue that the Tridentine Church’s claim of continuity motivated the study of early Christian art in the catacombs in the late sixteenth and early seventeenth centuries. By critically evaluating images and archeological sources to support an interpretation of the Church as semper eadem (ever the same), Bosio and his sixteenth-century predecessors contributed to the development of modern historical and archeological methods.
This dissertation explores the juxtaposition of imaginative and analytical interpretations of the Roman catacombs in the late sixteenth and early seventeenth centuries. Early modern descriptions of the catacombs characterize these burial sites as emotive worship spaces for the early Church that evoked Christian suffering, martyrdom, and devotion to the cult of saints. I argue that the gruesome martyrdom imagery commissioned to decorate S. Stefano Rotondo and SS. Nereo e Achilleo in the last two decades of the sixteenth century imaginatively recreated what contemporaries thought early Christian worship would have been like in the catacombs. As the first in-depth study to consider the relationship between the exploration of the catacombs and the first large-scale martyrdom cycles in the late sixteenth century, this dissertation demonstrates how vivid pictorial imagination of the Christian past inspired the early Christian revival movement in post-Tridentine Rome.text
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Mackie, Gillian Vallance. "The early medieval chapel: decoration, form and function. A study of chapels in Italy and Istria in the period between 313 and 741 AD." Thesis, 1991. https://dspace.library.uvic.ca//handle/1828/9508.
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The relationship between decoration, architectural form, and function is investigated in depth in those early chapels of Italy and Istria which retain significant amounts of their decorative programmes. These include the Archbishops' chapel and the Mausoleum of Galla Placidia in Ravenna, S. Vittore in Ciel d'Oro, Milan, the St. Matrona chapel at S. Prisco near S. Maria di Capua Vetere, Campania, and the chapels at the Lateran Baptistery, Rome. In addition, the chapels are set into a broader context through a survey of the many chapels which survive in less good condition, or are known only from archaeological and literary sources.
The decorative programme of each chapel is analysed for iconographic content. Themes reflect not only the basic vocabulary of the earliest Christian art, but more precisely, the hopes and aspirations of the chapel's builder. The vast majority of the surviving chapels were built as memorial or funerary chapels in connection with the cult of the dead, and expressed the soul's need for assistance in the attainment of heaven. The funerary cult was intimately connected with that of the martyrs, whose bodies and relics also rested in the chapels, and whose power in favour of those who were interred beside them was invoked in art in the chapels' decorative programmes.
Literary evidence confirmed that chapels had also existed in the dwellings of the lay aristocracy, though none had survived. On the other hand, clergy-house oratories were represented not only by the chapel of the Archbishops of Ravenna, but by the shrines of the two saints John at the Lateran Baptistery, Rome, which were identified as papal oratories adjacent to the home of the early popes at the Lateran Palace.
The total loss of the domestic chapels of the laiety slanted the conclusions of the study not only towards clergy house oratories, but towards funerary and memorial structures, of which a greater number survived. It was found that the latter illustrate the chronological sequence: martyr's memoria, funerary chapel, martyrium. Some examples served more than one of these functions in turn, and possibly the full sequence.
Analysis of the iconographic programmes showed that themes and functions were closely interrelated. Even so, there were more similarities than differences in the iconographic programmes of chapels which clearly served different functions. Most importantly, three-dimensional decorative schemes were common to all types of chapel. In these compositions, the chapel's interior space represented a microcosm of the universe. These schemes were judged to be ancestral to the decorative schemes typical of centrally-planned churches in the Middle Byzantine period.
Annexed chapels formed the main subject of the study, and all those mentioned so far are of this type. However, the origin of chapels within the perimeters of church buildings, which occurred late in the period of study, is briefly discussed in the final chapter, where oratories, sacristies, and chapels inside auxiliary buildings are distinguished from one another, and from the annexed chapels which had previously been standard.Graduate
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Truter, Carmen Estelle. "Images in, through and for "The W/Word" : a revisioning of Christian art." Diss., 2007. http://hdl.handle.net/10500/1939.
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During the premodern era, images corresponded to the doctrines of ”The
Word”, but in contemporary society this relationship is open and does not
correspond to the divine Word. Because of our perceived, postmodern
inability to respond to ancient Christian symbols, there is a need to revision
these symbols and Christian spirituality. The result of such a
revisioning would include an ”opening up” of ”The Word” and of traditional,
worn symbols which have lost vitality in this milieu. Art produced with this
in mind needs to make ”The Word” more currently accessible and relevant.
Further, this revisioning would add significance and enhance the possibility
of resurrecting language dealing with ”The Word”. In the process of
revitalising old Christian imagery and language, I aim to show that the
primary role of contemporary Christian art is to function metaphorically.
Finally, I argue that Christian images can take on significance as
contemporary images.Art History Visual Arts and Musicology
M.A. (Visual Arts)
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Kalas, Gregor A. "Sacred image, urban space image, installations, and ritual in the early medieval Roman forum /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/49623530.html.
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Zvířecí, Petra. "Zobrazení vegetace v římském a raně křesťanském umění a její symbolický význam." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313065.
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and keywords The thesis discusses the depiction of selected plant species in Roman and Early Christian art and further shortly deals with most considerable elements of vegetable ornaments and its development. The diploma work turns to symbolic meaning of the plants in connection with a religion and mythic tradition. First and second chapter pursue the depiction of herbs and trees (bushes) on mosaics, frescoes and relief-sculpture. In the third part the attention is paid to the significant elements of vegetable ornament: palmette, rosette and acanthus. Sometimes representations of plants from older period are mentioned for the sake of better explanation of their symbolic context (ancient Egypt, Greece). The thesis gathers information from writings of antique authors, in chapters dealing with Christian period from Bible and apocrypha, as well as from modern works related to the problematic. An objective of the thesis is to cover the differences in symbolic meanings of plants after an oncoming of Christianity, to determine, whether those plants were depicted onwards and in which context.
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Slaymaker, Peter James Victor. "Augustine and the Trinity vision in the Vita Sancti Augustini Imaginibus Adornata." Thesis, 2013. http://hdl.handle.net/1805/3886.
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Michalcová, Jana. "Nekropole na území Vatikánu. Interpretace výzdoby a její paralely v římském umění." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298006.
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The topic of the Diploma thesis is "Necropoleis on the Vatican Hill. The decoration analysis and its parallels in Roman art." The diploma thesis is divided into several parts that are particularly analysed. The first part is focused on the Vatican area layout in ancient world and both ancient and contemporary area layouts are compared. The second part is focused on the analysis of mausoleums along Via Cornelia and their decoration. The thesis tries to find some parallels with the mausoleums in the roman art which proclaim the use of these iconographical materials in other settings and historical backgrounds. The next part describes the necropolis along Via Triumphalis and the most important tombs within the specific sectors. The individual subchapters deal with selected motifs, which meanings intersect the pagan and Christian world. The following part analyzes selected sarcophagi and their decorative motifs. Consequently, both observed contexts are compared. The last part of the thesis provides the dating of several lamps from necropolis along Via Triumphalis. Keywords Vatican, necropolis, Via Cornelia, Via Triumphalis, antiquity, early Christian, roman art, decoration, sarcophagi