Journal articles: 'Early Christian art'

1

Ferguson, Everett. "Understanding Early Christian Art (review)." Journal of Early Christian Studies 10, no. 1 (2002): 143–44. http://dx.doi.org/10.1353/earl.2002.0004.

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Couzin, Robert. "Uncircumcision in Early Christian Art." Journal of Early Christian Studies 26, no. 4 (2018): 601–29. http://dx.doi.org/10.1353/earl.2018.0053.

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Russell, Ada. "Jensen, Understanding Early Christian Art." Studies in World Christianity 7, no. 2 (October 2001): 267–69. http://dx.doi.org/10.3366/swc.2001.7.2.267.

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Hemans, Caroline J., and Robert Milburn. "Early Christian Art and Architecture." American Journal of Archaeology 94, no. 3 (July 1990): 517. http://dx.doi.org/10.2307/505832.

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Jensen, Robin M. "Early Christian Art and Divine Epiphany." Toronto Journal of Theology 28, no. 1 (March 2012): 125–44. http://dx.doi.org/10.3138/tjt.28.1.125.

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Lidova, Maria A. "THE ANNUNCIATION IN EARLY CHRISTIAN ART." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2021): 28–41. http://dx.doi.org/10.28995/2686-7249-2021-6-28-41.

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The paper is dedicated to the earliest formative stages of Annunciation imagery. Although it was widely spread in the Middle Ages, only a few examples of the scene survive from the early Christian period. Judging by the existing material evidence, it can be argued that the image of the Annunciation acquired recognizable and fully-fledged form only in the fifth century. Early examples reveal distinct formative stages of the iconography and the gradual introduction of additional features, enriching the content and visual rendering of this highly significant visual theme. This paper analyzes the influence of Apocrypha, as well as of the early theological tradition, on the development of the Annunciation scene and reveals the importance of this material to the study of the cult of the Mother of God.

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CAMERON, Averil. "Art and the Early Christian Imagination." Eastern Christian Art 2 (December 1, 2005): 1–8. http://dx.doi.org/10.2143/eca.2.0.2004544.

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Lee M., Jefferson. "The Staff of Jesus in Early Christian Art." Religion and the Arts 14, no. 3 (2010): 221–51. http://dx.doi.org/10.1163/156852910x494411.

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AbstractWhen surveying examples from Christian art of the third and fourth centuries, a viewer will invariably encounter the puzzling image of Jesus performing miracles holding a staff or wand. Theologians, art historians, and even the current pope have interpreted Christ’s miracle-working implement as a symbol denoting Jesus as a philosopher or a magician. However, the most reasonable explanation of the staff can be discovered by examining the only other two staff-bearers featured in the corpus of early Christian art: Moses and Peter. Miracles and the figures who wrought them were the primary currency of faith in late antiquity. Such an emphasis is readily apparent in early Christian texts. This article will demonstrate the emphasis on miracles in early Christian art by focusing on the peculiar iconographic feature of the staff. The staff in Christian art of the third and fourth centuries is not evocative of magic, philosophy, or any other non-Christian influence. Instead, the staff is meant to recall the miracle worker Moses and to characterize Jesus and Peter as the “New Moses” of the Christian faith.

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Jacoby, Thomas. "EARLY CHRISTIAN ART AND ARCHITECTURE. Robert Milburn." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 2 (July 1989): 95–96. http://dx.doi.org/10.1086/adx.8.2.27948059.

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Kahn, Douglas. "Christian Marclay's Early Years: An Interview." Leonardo Music Journal 13 (December 2003): 17–21. http://dx.doi.org/10.1162/096112104322750737.

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The artist discusses with the author his early career and influences. Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his early experiments in art, music and performance using records. Marclay describes the evolution of his use of records and discusses other influences, such as art school and the New York club scene of the 1970s.

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Kuvatova, Valeria. "SYMBOLISM OF EARLY CHRISTIAN PRAYERS IN ROMAN, GREEK AND EGYPTIAN FUNERARY ART." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 177. http://dx.doi.org/10.31857/s086919080029093-9.

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The question of semantic connections between Early Christian funerary art and texts of Early Christian prayer for the dead – Ordo commendationis animae – remains controversial. Some scholars endorse the idea that iconographic programs of Roman catacombs and Early Christian sarcophagy can be traced back to the prayer. Others highlight the distinctions between them, emphasizing, that the oldest text of the Ordo commendationis animae cannot be dated earlier than the 4th century. Both the prayer and the funerary art embody the same themes of salvation and resurrection, often depicted through shared biblical heroes and narratives. Although there are inconsistencies between the biblical heroes mentioned in the prayer and the most popular characters and narratives in Early Christian art, the semantic parallels cannot be simply dismissed. This research seeks to uncover the origins of the prayer itself and propose liturgical sources that could have influenced regional traditions of Early Christian funerary iconography. Additionally, it hypothesizes explanations for the iconographic principles of several renowned Early Christian monuments.

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Fatyushyna, N. Yu. "Basic features of early Christian art (painting, mosaic, architecture, music)." Ukrainian Religious Studies, no. 25 (December 27, 2002): 110–17. http://dx.doi.org/10.32420/2003.25.1434.

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The most ancient monuments of ancient Christian art were found in catacombs located outside the cities. The Christian catacombs were a complex plexus of underground narrow galleries with numerous niches where the coffins of martyrs and bishops were placed. These niches formed a kind of rectangular chambers, the walls and surfaces of which were decorated with images. Thus, early Christian art begins with catacomb paintings.

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Finney, Paul Corby. "Images on Finger Rings and Early Christian Art." Dumbarton Oaks Papers 41 (1987): 181. http://dx.doi.org/10.2307/1291556.

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Casiday, Augustine. "Book Review: Picturing God in Early Christian Art." Expository Times 117, no. 6 (March 2006): 258–59. http://dx.doi.org/10.1177/001452460611700616.

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Jefferson, Lee M. "Picturing Theology: A Primer on Early Christian Art." Religion Compass 4, no. 7 (June 27, 2010): 410–25. http://dx.doi.org/10.1111/j.1749-8171.2010.00226.x.

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Jensen, Robin M. "Compiling Narratives: The Visual Strategies of Early Christian Visual Art." Journal of Early Christian Studies 23, no. 1 (2015): 1–26. http://dx.doi.org/10.1353/earl.2015.0010.

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Kinney, Dale. "Review: Early Christian Art and Architecture by Robert Milburn." Journal of the Society of Architectural Historians 48, no. 2 (June 1, 1989): 180–81. http://dx.doi.org/10.2307/990356.

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Schnabel, Eckhard J. "The Eerdmans Encyclopedia of Early Christian Art and Archaeology." Bulletin for Biblical Research 27, no. 3 (January 1, 2017): 454–58. http://dx.doi.org/10.5325/bullbiblrese.27.3.0454.

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19

McManus, Chris. "Right and left in early Christian and medieval art." Laterality 27, no. 3 (March 21, 2022): 353–57. http://dx.doi.org/10.1080/1357650x.2022.2049285.

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Medennikova, Aleksandra E. "Conches in Early Christian Art: Boarders of Spatial Perception." Actual Problems of Theory and History of Art 9 (2019): 210–19. http://dx.doi.org/10.18688/aa199-2-20.

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Elsner, Jaś. "Archaeologies and Agendas: Reflections on Late Ancient Jewish Art and Early Christian Art." Journal of Roman Studies 93 (November 2003): 114–28. http://dx.doi.org/10.2307/3184641.

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There are (at least) two ways to approach the history of religious art in Antiquity. One is to study what was going on in the ancient world, to tell the story as they (the subjects of our inquiry) saw it and as they did it. Another is to ask how we know how they saw it and did it. The first might be called ‘history’, the second ‘critical historiography’. Both are crucial to the historical enterprise, and I in no way intend to demean the first by saying that this paper is largely of the second kind. My project is to examine what are the grounds for our assumptions in creating the generalizations of ‘Late Ancient Jewish Art’ and ‘Early Christian Art’ as real categories of visual production in Late Antiquity with specific and discrete audiences and constituencies of patrons and producers. Both fields are venerable, with long historiographies and complex guiding-agendas of the sort that are perhaps inevitable given the kinds of ancestral investments made by scholars and indeed members of the general public (which is to say, also adherents of the two faiths) in both fields. In addition to prising apart the history of some of these investments, I want to question the methodological basis for many of the assumptions about what can rightly be classified under either the heading of ‘Jewish’ art or of ‘early Christian’ art.

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Elsner, Jaś. "Archaeologies and Agendas: Reflections on Late Ancient Jewish Art and Early Christian Art." Journal of Roman Studies 93 (November 2003): 114–28. http://dx.doi.org/10.1017/s0075435800062742.

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23

Bobertz, Charles A. "Art and Holy Powers in the Early Christian House (review)." Journal of Early Christian Studies 2, no. 4 (1994): 467–68. http://dx.doi.org/10.1353/earl.0.0210.

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Jefferson, Lee M. "The Healing Christ in Pandemics: Then and Now." Interpretation: A Journal of Bible and Theology 77, no. 3 (June 12, 2023): 233–45. http://dx.doi.org/10.1177/00209643231165048.

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The context of illness, plagues, and healing in early Christianity and late antiquity was a factor in the growth and expansion of early Christianity. The most prominent early images from early Christian art depict Christ healing. This essay will examine the historical context of plagues and the Christian response to show how the healing Christ affected the security of Christian ascendency. From this study, the essay offers insight into our present pandemic context of COVID-19 and evaluates the religious response.

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Kałużny, Józef Cezary. "Phoenix and Delphinus Salvator: The History of the Forgotten Images of Early Christian Iconography." Perspektywy Kultury 30, no. 3 (December 20, 2020): 9–26. http://dx.doi.org/10.35765/pk.2020.3003.03.

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Art in the 3rd and 4th centuries underwent transformations and adapted certain representations which were typical of ancient iconography to the new needs and tasks of Christian art. Among the abundant examples of this process, many continue to be popular and recognizable, such as the representation of Hermes Kriophoros, which evolved to become Christ the Good Shepherd, or the sleeping Endymion, which became part of the “Jonah cycle.” The adaptation of patterns from antiquity for the purposes of Christian iconography was both popular and quite common, but only a fraction of the representations developed in that period survive today. This paper discusses the representations that have been forgotten. Relying on the examples of the phoenix and the dolphin-rescuer, the paper analyzes factors that affected the partial (phoenix) or complete (delphinus salvator) disappearance of images which were typical of early Christian art and which relied on ancient imagery.

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Zhang, Xinyi. "The Indigenization Strategies of Catholic Painting in Early 20th Century China." Religions 15, no. 6 (May 30, 2024): 681. http://dx.doi.org/10.3390/rel15060681.

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The spread of Christianity to China initiated a process of indigenization, particularly evident in Christian art. This study explores the indigenization of early 20th-century Chinese Christian paintings through literature reviews, case studies, and comparative research. The analysis covers four forms of primary research. First, it explores the indigenization of Christian concepts, tracing their development from the introduction of Nestorian Christianity in the Tang dynasty through the establishment of Fu Jen Catholic University in the Republican era. Matteo Ricci’s implementation of the “Ricci Rule” during the late Ming dynasty, subsequently expanded by Celso Costantini, played a crucial role in the indigenous adaptation of Christian painting in China. The second facet focuses on the Beijing Catholic School of Painting, led by Chen Yuandu, a group that innovated Chinese Christian art by integrating local artistic expressions with traditional depictions of saints, assimilating symbols from Chinese literati painting, and preserving time-honored Chinese painting techniques. The third facet examines the strategy behind Christian painting methods. Fourth, this study discusses how the Fu Jen School faced varied reception and evaluations from domestic and international audiences under the complex social currents of the Republic of China and how the artists reflected the national spirit and artistic responsibility in their narrative paintings. Fundamentally, the practice of Christian painting at the early 20th-century Catholic School is not only an innovative artistic endeavor but also a significant case of cultural exchange between East and West and religious localization.

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Wharton, Annabel, and Thomas F. Mathews. "The Clash of Gods: A Reinterpretation of Early Christian Art." American Historical Review 100, no. 5 (December 1995): 1518. http://dx.doi.org/10.2307/2169872.

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KOZINCHUK, Vitalii. "Early Christian art of the Ecumenical Church: canon and style." Humanities science current issues 1, no. 44 (2021): 89–94. http://dx.doi.org/10.24919/2308-4863/44-1-13.

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Kinney, Dale. "Instances of Appropriation in Late Roman and Early Christian Art." Essays in Medieval Studies 28, no. 1 (2012): 1–22. http://dx.doi.org/10.1353/ems.2012.0005.

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Brown, Peter, and Thomas F. Mathews. "The Clash of Gods: A Reinterpretation of Early Christian Art." Art Bulletin 77, no. 3 (September 1995): 499. http://dx.doi.org/10.2307/3046124.

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CONLIN, JONATHAN. "GLADSTONE AND CHRISTIAN ART, 1832–1854." Historical Journal 46, no. 2 (June 2003): 341–74. http://dx.doi.org/10.1017/s0018246x03002978.

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Although his activity as a private collector has been documented, the extent to which William Ewart Gladstone's interest in art was implicated in his thought on church and state has been overlooked. Previously unnoticed memoranda and correspondence of the 1830s and 1840s with the French art historian and Roman Catholic thinker, François Rio, demonstrate a fascination with religious painting of early Renaissance Italy, of the sort which only came to be appreciated in Britain many years later. For Rio, however, introducing Gladstone to ‘Christian art’ was as much about encouraging Gladstone in his hopes of reuniting the Protestant and Catholic churches as it was about reforming his taste. The manuscripts considered here show Gladstone to have viewed art history in terms of a struggle between sanctity and sensuality, visualized in terms both of the individual as well as of nationalities. In so far as the young Conservative politician formulated this history in tandem with his theory of the religious personality of the state, a study of his model of Christian art's development affords a new path into an old debate: did Gladstone betray the principles of his first book, The state in its relations with the church (1838) in his subsequent political evolution into Liberal statesman?

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Štivičić, Štefan. "Ivan Josipović, Pridraga u zaleđu Zadra." Miscellanea Hadriatica et Mediterranea 6, no. 1 (January 20, 2020): 249–54. http://dx.doi.org/10.15291/misc.2918.

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The book Pridraga in the hinterland of Zadar was written by the art historian and university professor from the Department of Art History of the University of Zadar Ivan Josipović. The research enterprise published in this book is the result of a lengthy study of early Christian and pre-Romanesque reliefs found at the archaeological sites in Pridraga near Zadar. Comprehensive and detailed presentation of all early Christian and pre-Romanesque reliefs found in the Pridraga region until the year 2018 reflects importance of this book as a unique and systematic research project. Since Josipović earned his doctoral degree with the theme of pre-Romanesque reliefs,1 research work and analysis of reliefs from Pridraga were a part of his knowledge of the early medieval Croatian art. Pridraga in the hinterland of Zadar is a contribution not only to the art history but also to the history of the Early Middle Ages.

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Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.

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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Last Supper", the main difficulties arise with the origin of the plot, and therefore, with the use of evangelical or synoptic sources for its interpretation by masters who created these works of art. Times of dating, works of the early Christian era over time transformed even more and changed in the context of the development of iconography with its artistic peculiarities. The placement of Christ's disciples during the conduct of the sacrament, their posture, clothing, symbolism and details of the conditional interior, which accompany each work deserve detailed examination, art-study analysis and scientific explanation.In the study of the Byzantine book miniature of the early Christian era, it appears necessary to determine which part of the text from the Holy Scripture is illustrated alongside the image of the "Last Supper" and which additional miniatures accompany it. Also, special attention deserves exceptional and rare in the number of works of decorative and applied arts, in which the plot was embodied. In addition, to consider the origin and development of the iconography of the "Last Supper", it appears necessary to analyse and distinguish the differences in the iconography of works.The material of the article is illustrated by the works of the monumental art of the Roman catacombs and exhibits from the collection of the Louvre Museum, the State Historical Museum in Moscow, the Archbishopric Treasury of the Rossano Cathedral and the miniatures of the Cambridge Library of the Corpus Christi College.

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Kuvatova, Valeria. "Funerary Art of Ptolemaic Alexandria as a Model for an Early Christian Iconographic Cliché." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2023): 6. http://dx.doi.org/10.31857/s086919080023811-9.

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The subject of the study – the phenomenon of cultural appropriation of Ancient pagan iconography by Early Christian art – is approached through the funerary art of Ptolemaic Egypt. The study aims at tracing back the origin of an important Early Christian scene – Jonah under the Gourd Vine – by methods of semiotic analysis and historical contextualization. In the 3rd–4th centuries AD it used to be the most popular Biblical subject throughout the Roman Empire. Some scholars argue that a mythological scene of Endimion’s dream, often carved on Late Antique sarcophagi, served as a model for visualization of the story of the prophet. However, this hypothesis does not explain the origin of the gourd vine motif, which is yet another iconographic sine qua non detail of the Jonah resting scene. Before the ‘birth’ of Early Christian art the motif had appeared just once – in Wardian necropolis of Alexandria. The gourd was first mentioned in Septuagint – the Greek translation of the Hebrew Bible made by Alexandrian Jews in the 3rd century BC. It substituted another plant originally mentioned in the Hebrew text. Both the Bible translators and Alexandrian painters had been well familiar with the gourd that was seemingly largely cultivated in Alexandrian suburbs. At some point of the city history Alexandrian painters adopted the pagan visual cliché for visualization of the Old Testament episode, and the new iconographic cliché was lately imported by Roman and provincial Christian milieu.

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Bono, Donato. "The Apostles in Early Christian Art and Poetry, ed. Roald Dijkstra." Augustinianum 58, no. 1 (2018): 266–72. http://dx.doi.org/10.5840/agstm201858113.

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Levine, Adam. "(Re-)imagining encounters between Late Antique viewers and Early Christian art." postmedieval: a journal of medieval cultural studies 7, no. 1 (March 2016): 29–42. http://dx.doi.org/10.1057/pmed.2015.50.

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O’Kane, Martin. "The Apostles in Early Christian Art and Poetry. By Roald Dijkstra." Journal of Theological Studies 68, no. 2 (September 12, 2017): 766–69. http://dx.doi.org/10.1093/jts/flx148.

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Heim, S. Mark. "Missing the Cross?: Types of the Passion in Early Christian Art." Contagion: Journal of Violence, Mimesis, and Culture 12, no. 1 (2005): 183–94. http://dx.doi.org/10.1353/ctn.0.0002.

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Russell, James R. "The Armenian Magical Scroll and Outsider Art." Iran and the Caucasus 15, no. 1-2 (2011): 5–47. http://dx.doi.org/10.1163/157338411x12870596615313.

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AbstractUnordained clergy make Armenian prayer scrolls, which go back to the amulets against the Child-stealing Witch. They are analogous to the MSS of Ethiopian Christians, made often by charismatic and socially marginal figures. This art found a niche in East Christian society; but none was provided for the appropriately named "outsider" art and the art of the insane in the West, which often expresses religious visions and sentiments that the artistic and mental health establishments—rather than an ecclesiastical order this time!—have forced to the margin of society or beyond it. Despite the early efforts of Frederic Macler, though Armenian magical and talismanic texts have been edited and published there has been little study of the art as such of the manuscripts that contain them. Perhaps because of their greater flamboyance and their situation partially in an African context, it is the analogous material of the Ethiopian Christian tradition that has received art historical attention. And modern avowedly religious art of almost any kind in the West became so generally marginalised in criticism that much of it, including the art of people labelled insane, has come to be studied, if at all, under the rubric of art brut or outsider art. Since the makers of folk-religious-magical art in Armenia (the tirac'u) and in Ethiopia (the debtera) are sometimes marginal figures like outsider artists, I have attempted in this essay to initiate an approach to Armenian magical and talismanic art that employs the comparative method and takes advantage of the insights of studies of outsider art, the art of the psychologically abnormal, and the art of self-taught religious visionaries.

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Murray, Mary Charles. "The Christian Zodiac on a Font at Hook Norton: Theology, Church, and Art." Studies in Church History 28 (1992): 87–97. http://dx.doi.org/10.1017/s0424208400012390.

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This paper is an attempt to offer a preliminary study of a Christian tradition of allegorizing the zodiac which is found in certain literary texts and artistic representations. What prompted the investigation from the artistic point of view was an examination of the twelfth-century baptismal font in the church of St Peter at Hook Norton, Oxfordshire, which is decorated with a mixture of selected signs of the zodiac and scriptural images (plate i). It raises the question of how early was the tradition in which the zodiac was linked with baptism in Christian thought, and what other connections there might be. So the question I should like briefly to illustrate here is the connection between Christian decorations which feature the zodiac, particularly in the medieval period, and an allegorical tradition which goes back to the early Church.

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Goren, Ahuvia. "The Lulav: Early Modern Polemical Ethnographies and the Art of Fencing." Religions 12, no. 7 (July 1, 2021): 493. http://dx.doi.org/10.3390/rel12070493.

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In recent years, scholars have devoted a great deal of attention to the history of scholarship in general and, more specifically, to the emergence of critical historical and anthropological literature from and within ecclesiastical scholarship. However, few studies have discussed the Jewish figures who took part in this process. This paper analyzes the role played by historiographical and ethnographical writing in seventeenth- and eighteenth-century Italian Jewish–Christian polemics. Tracing various Christian polemical ethnographical depictions of the Jewish rite of shaking the lulav (sacramental palm leaves used by Jews during the festival of Sukkot), it discusses the variety of ways in which Jewish scholars responded to these depictions or circumvented them. These responses reflect the Jewish scholars’ familiarity with prevailing contemporary scholarship and the key role of translation and cultural transfers in their own attempts to create parallel works. Furthermore, this paper presents new Jewish polemical manuscript material within the relevant contexts, examines Jewish attempts to compose polemical and apologetic ethnographies, and argues that Jewish engagement with critical scholarship began earlier than scholars of this period usually suggest

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PETROSYAN, Nelli. "Cultural Characteristic of Early Christianity." wisdom 2, no. 7 (December 9, 2016): 211. http://dx.doi.org/10.24234/wisdom.v2i7.160.

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The article presents the cultural characteristic of early Christianity in Armenia. In the end of the 3rd century Christianity had a large number of followers. Christianity gave an opportunity to resist with national unity the external invaders and protect national independence and autonomy. Assessing correctly the situation, in 301 Tiridates III (287-330) by the initiative of Gregory the Illuminator declared Christianity as a state religion in Armenia. Gregory the Illuminatore could show that only due to Christianity it was possible to ensure the further history of Armenian people. He also explained the philosophical-anthropological bases of that religion, contrasting that with the visible simplicity of polytheism. The adoption of Christianity was a powerful twist in country’s external and internal policy but it rejected by the religious aspect the faith of the centuries, the pagan culture and literature. But nevertheless, remained only pre-Christian spiritual and cultural values which were created by people. Christianity created its culture, literature, school. In Armenia constructed Christian churches, next to them were opened Christian churches in Greek and Assyrian languages. In the history of the Christian culture 4th and 5th centuries historical situations were the most important factors for the development of Early Medieval Armenian art and ecclesiastical literature and oriented its essence and uniqueness giving impetus to the creation of high bibliographic monuments.

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PETROSYAN, Nelli. "Cultural Characteristic of Early Christianity." WISDOM 7, no. 2 (December 9, 2016): 211–15. http://dx.doi.org/10.24234/wisdom.v7i2.160.

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The article presents the cultural characteristic of early Christianity in Armenia. In the end of the 3rd century Christianity had a large number of followers. Christianity gave an opportunity to resist with national unity the external invaders and protect national independence and autonomy. Assessing correctly the situation, in 301 Tiridates III (287-330) by the initiative of Gregory the Illuminator declared Christianity as a state religion in Armenia. Gregory the Illuminatore could show that only due to Christianity it was possible to ensure the further history of Armenian people. He also explained the philosophical-anthropological bases of that religion, contrasting that with the visible simplicity of polytheism. The adoption of Christianity was a powerful twist in country’s external and internal policy but it rejected by the religious aspect the faith of the centuries, the pagan culture and literature. But nevertheless, remained only pre-Christian spiritual and cultural values which were created by people. Christianity created its culture, literature, school. In Armenia constructed Christian churches, next to them were opened Christian churches in Greek and Assyrian languages. In the history of the Christian culture 4th and 5th centuries historical situations were the most important factors for the development of Early Medieval Armenian art and ecclesiastical literature and oriented its essence and uniqueness giving impetus to the creation of high bibliographic monuments.

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Aubert, Christine. "Ideological Clash in L’Ovide moralisé." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 1 (April 1, 2019): 010210910. http://dx.doi.org/10.55269/thebeacon.2.010210910.

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“The Art of love,” “Metamorphoses,” “Heroides” and “The Love Elegies” written by Publius Ovidius Naso, represent important formative elements of the Roman Catholic homiletic poem “The Moralised Ovid” (L’Ovide Moralisé) written in the early 14th century by an unknown author in Old French. In the article, the ideological use of allusions and reminiscences of this poem to “The Art of Love” and “The Loves”, is analysed. Based on the comparison of Ovid’s quotes on gender roles and Christian maxims, an attempt is made to evaluate the success of the methodology of citing “The Art of Love” and “The Loves” for the purposes of creating medieval Christian ideological narrations.

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Harlow, Mary. "THE IMPOSSIBLE ART OF DRESSING TO PLEASE: JEROME AND THE RHETORIC OF DRESS." Late Antique Archaeology 5, no. 1 (2009): 531–47. http://dx.doi.org/10.1163/22134522-90000120.

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This paper uses the letters of Jerome as a case study for examining the rhetoric of dress in early Christian writing, and considers how far such a language of dress can be useful in creating a catalogue or chronology of female dress in Late Antiquity. The paper will argue that discourses about dress and gender in the western empire show striking continuity over time and across the boundary between classical and Christian literature.

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Kardis, Mária, and Dominika Tlučková. "The Symbol of the Phoenix in the Catacombs of Priscilla in Rome and Its Transformation in Early Christianity." Biblical Annals 12, no. 1 (January 27, 2022): 65–88. http://dx.doi.org/10.31743/biban.12903.

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The presented study deals with the oldest Christian depiction of a phoenix found in the Catacombs of Priscilla in Rome. Since catacomb art is a narrative depiction of biblical stories, it is important to incorporate the motive of phoenix into historical context. The study performs analysis and comparison the links and connections of the phoenix symbol in pagan and Christian thought. As Christian iconography is associated with allegorical symbols, the intention is to anticipate the meaning, origin and etymology of the phoenix symbol. The article therefore summarizes how the symbol and position of the phoenix found in the catacombs evolved from Egyptian myths through Greek and Roman culture to the transformation in Christian literature and Christian thought, especially in the Gospel of John, which connects the symbol of the phoenix with the palm and Lazarus.

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Anđelković, Jelena, Dragana Rogić, and Emilija Nikolić. "Peacock as a Sign in the Late Antique and Early Christian Art." Arheologija i prirodne nauke 6 (2010): 231–48. http://dx.doi.org/10.18485/arhe_apn.2010.6.13.

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Moffatt, Ann. "Art and holy powers in the early Christian house (review)." Parergon 8, no. 2 (1990): 157–59. http://dx.doi.org/10.1353/pgn.1990.0090.

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Zavadskaya, Irina Anatol’evna. "Figurative Images in the Early Christian Funeral Paintings of Chersonese." Античная древность и средние века 49 (2021): 38–54. http://dx.doi.org/10.15826/adsv.2021.49.003.

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The paintings of the 11 early Christian burial vaults of Chersonese uncovering the image of the Garden of Eden fully correspond to the traditions of the Late Antique art. There figurative images are very rare, and not all of them have been interpreted properly. Single man’s figures preserved in the painting of three vaults (of the years 1853/1905, 1909 and in the vault on N. I. Tur’s land) are of particular interest for the determination of the time and ways of penetration of this artistic tradition into early Christian Chersonese. A comparative analysis of funeral paintings from different regions of the Eastern Roman Empire makes it possible to determine the function of the mentioned images of men in the painting of these tombs and to explain their origin in early Christian burials. According to the fragments that survived, all three figures of young men are very similar in dress and posture. Probably, they all held a burning candle in the hands, the image of which survived only in the vault of the year 1909. These images are comparable to the figures of servants from a number of tombs discovered in the Balkans, Asia Minor, North Africa, and Levant. The young men from Chersonese are most close to the images of male servants from the tombs in Bulgaria and Serbia. From the analogies given in this paper there are reasons to interpret the figures of young men in the three vaults of Chersonese as images of servants. Figures of servants were widespread in ancient art and also in Christian burials to the end of the fourth century. Most likely, these figures appeared in the paintings of Chersonese under the influence of the Eastern Balkan artistic tradition.

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Borisova, Valentina. "Евангельский текст в творчестве Ф. М. Достоевского: проблемы и перспективы изучения." Проблемы исторической поэтики 18, no. 4 (November 2020): 186–208. http://dx.doi.org/10.15393/j9.art.2020.8582.

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The article reflects on the results and prospects of studying the gospel text in the works of F. M. Dostoevsky at the present stage, identifies the main directions and methodological problems of their analysis and interpretation in the framework of ethnopoetics as a new scientific direction in literary studies of the late 20th — early 21th century. Its principles are rooted in historical poetics, which aimed to define the role and boundaries of the Christian tradition in Russian literature. As a result, the scientific discourse included new poetical categories of conciliarity (“sobornost”) and paschality, and the understanding of Christian realism as an artistic method was established. Its aesthetic principles were mastered by Russian literature in the 19th century. Revealed in the gospel, Christian realism appeared in Dostoevsky’s work as “realism in the highest sense.” The main result of studying Russian literature from the point of view of ethnopoetics is to identify the gospel text itself. It has not yet been singled out in the early 1990s, but today its key outlines are already well-described, above all — in the works of Dostoevsky. The regularities of the development of modern Russian studies of Dostoevsky in this regard can be traced using the example of the terminological thesaurus formed in the process of studying the gospel text in the works of the author of the Great Five Novels. There is a fundamentally significant combination of literary, philosophical, and theological categories. Nevertheless, the problem of distinguishing philological and religious-philosophical discourses in modern literary studies in general and in studies of Dostoevsky in particular remains relevant: on the one hand, a number of works remain inclined towards pure theology; on the other hand, scientists are paying increasingly greater attention to the analysis of the functions and ways of creative transformation of Christian tradition in Russian literature.

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Journal articles on the topic 'Early Christian art'

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