Journal articles on the topic 'Jesus Christ Art'
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1
Pozdnyakova, D. Y. "Coptic Christian Symbolism in Art as a Problem of Cultural Studies." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.
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In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus
2
Badriah Mohamed Abdullah Alfozan, Badriah Mohamed Abdullah Alfozan. "Monotheism among the Christians its concept and Creed implications(Critical Study)." journal of king abdulaziz university arts and humanities 26, no. 3 (March 3, 2018): 47–75. http://dx.doi.org/10.4197/art.26-3.3.
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Jesus was mentioned in the Holy Quran as considering God as one, God as his Lord and ordered to worship God only. However, some Christians who believed in Jesus Christ as Prophet and denied him as being Son of God or one of the Three Gods; an evidence of the depravity of the Creed of most Christians and its perversity of Jesus Message, and a reply to the followers of the three large parties (Royalism, Nestorianism and Jacobitism) in Triangulation, and the study of the Christians attitude on Monotheism throughout ages and their switch to Triangulation and notification of the invalidation of their saying of the godhead of Jesus; features the importance of this research [Monotheism among the Christians its concept and Creed implications (Critical Study)]. We will tackle here the concept of Monotheism as seen by Christians, and Monotheism after Jesus, Peace be Upon him, was lifted, the stages of Monotheism in the Christian history and texts of the Holy Book and the proof of Monotheism Creed to the Almighty God and the reply to it.
3
Wibowo, Wahju Satria. "Yesus Sejarah atau Kristus Iman?: Historisitas Iman dan Karya Allah dalam Yesus Kristus." GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 6, no. 1 (April 30, 2021): 51. http://dx.doi.org/10.21460/gema.2021.61.631.
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Abstract There has always been a tension between Jesus of History and Christ of Faith. The figure of Jesus and the faith in Him as Christ are historical. History is a space to bring together both. Without Jesus of History, Christian faith is empty. Similarly, without the faith of the first Christian community, the figure of Jesus is nothing. The historicity of Jesus stands along with the historicity of faith in Him. Of course, above all is God’s work in history. On the one hand, using the research and discussion of the historical Jesus, this article shows that archaeological findings should influence Christianity to reconstruct faith, and reflects that history is a medium for God’s work. On the other hand, using some other writings this article shows that the work of God in history is the art of God’s entrepreneurship, including God’s work in Jesus Christ. Incarnational theology is based on the historical figure, Jesus of Nazareth.
Abstrak Selalu ada ketegangan antara Yesus Sejarah dan Kristus Iman. Keduanya ada dalam sejarah manusia. Sosok Yesus dan iman kepada-Nya sebagai Kristus ada dalam sejarah. Sejarah adalah ruang untuk mempertemukan keduanya. Tanpa Yesus Sejarah, iman Kristen kosong. Di sisi lain, tanpa iman komunitas Kristiani pertama, sosok Yesus menjadi tidak terlalu penting. Historisitas Yesus berada bersama dengan historisitas iman kepada-Nya. Tentu saja, di atas segalanya ada karya Allah dalam sejarah. Dengan menggunakan penelitian dan pembahasan Yesus Sejarah, artikel ini membahas bahwa temuan Yesus Sejarah seharusnya memengaruhi kekristenan untuk membangun kembali iman, dan lalu akan merefl eksikan bahwa sejarah adalah media untuk pekerjaan Allah. Di sisi lain, dengan menggunakan beberapa tulisan lain artikel ini menunjukkan bahwa karya Allah dalam sejarah adalah “seni kewirausahaan Allah”, termasuk karya Allah dalam Yesus Kristus. Teologi inkarnasional didasarkan pada tokoh sejarah, Yesus dari Nazaret.
4
Bussieres, Marie-Pierre. "A Twenty-First-Century Gospel: Jesus at the Vatican in Paolo Sorrentino’s The Young Pope." Journal of Religion and Popular Culture 32, no. 3 (January 1, 2021): 204–18. http://dx.doi.org/10.3138/jrpc.2018-0005.
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Paolo Sorrentino called his series The Young Pope “a thriller of the soul.” In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that conservatism is equally present with liberalism in its message.
5
Albright, Thomas D. "The Veiled Christ of Cappella Sansevero: On Art, Vision and Reality." Leonardo 46, no. 1 (February 2013): 19–23. http://dx.doi.org/10.1162/leon_a_00479.
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A celebrated marble sculpture of the body of Jesus, known as Cristo Velato (Veiled Christ), by the 18th-century Neapolitan artist Giuseppe Sanmartino offers a dramatic demonstration of art as all-encompassing illusion. As such, Sanmartino's masterpiece provides a rare opportunity to deconstruct a multifaceted and richly deceptive perceptual experience into a collection of simple sensory elements. This analysis both yields insights into the visual tools of the artist and reveals how an empirical understanding of sensory processes can illuminate complex perceptual experiences.
6
Buettner, Jamie. "Embracing Jesus: Mystical Union with Christ in Seventeenth-century Art and Imagination." International Journal of Religion and Spirituality in Society 3, no. 4 (2014): 13–27. http://dx.doi.org/10.18848/2154-8633/cgp/v03i04/51070.
7
Gamba, Ezio. "Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik." Zeitschrift für Religions- und Geistesgeschichte 62, no. 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.
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AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?
8
Citlak, Amadeusz. "Psychobiography of Jesus Christ in view of Władysław Witwicki’s theory of cratism." Journal for Perspectives of Economic Political and Social Integration 21, no. 1-2 (December 1, 2015): 155–84. http://dx.doi.org/10.2478/pepsi-2015-0007.
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Abstract The article is an attempt at a critical evaluation of applying one of the most original theories of Polish psychology, i.e. W. Witwicki’s theory of cratism, to the interpretation of the activities and personality of Jesus Christ. The theory of cratism, though it provides substantial explanation possibilities, has been largely forgotten. W. Witwicki used it to try to interpret many aspects of human activity such as art, social relations, as well as the life of ancient figures, among others, Socrates and Jesus Christ. Thanks to this, he created the first ever in Polish psychology (and also one of the first in world psychology) psychobiography. The proposal to decipher the activity of Jesus of Nazareth through Witwicki, however, raises large concerns, which discouraged many psychologists, and especially religious environments. I would like to indicate the most controversial moments of his work, while drawing attention to the great value of the theory itself also today, at the beginning of the 21st century, particularly in the area of historical psychology.
9
Vogt, Peter. ""Honor to the Side": The Adoration of the Side Wound of Jesus in Eighteenth-Century Mordvian Piety." Journal of Moravian History 7, no. 1 (2009): 83–106. http://dx.doi.org/10.2307/41179862.
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Abstract The wounded side of Jesus Christ played an important role in the theology and devotional life of the eighteenth-century Moravian community. The adoration of the side wound manifested itself in various ways, ranging from hymnody and preaching to graphic art and ceremonial installations. In the context of a theology of the atonement, the wounded side of Christ signified a place of refuge, an opening out of which the church was "born," and an eschatological token by which Christ will be recognized at the time of his second coming. The Moravians expressed these ideas in a peculiar language that contemporaries often found shocking and that continues to be a puzzling phenomenon for modern scholarship. Especially the description of the side wound as a place of giving birth has given rise to controversial theories about abnormal sexual practices and concepts of gender. At the same time it has become increasingly clear that the Moravian devotion to the side wound must be considered in the context of a larger tradition of side wound piety, going back to early and medieval Christianity and also present in Renaissance art and Lutheran hymnody.
10
Atwood, Craig D. "Little Side Holes: Moravian Devotional Cards of the Mid-Eighteenth Century." Journal of Moravian History 6, no. 1 (2009): 61–75. http://dx.doi.org/10.2307/41179848.
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Abstract One of the more intriguing types of eighteenth-century Moravian art were small devotional cards. These side-hole cards (Seitenhöhlchenkarten) offer a distinctly Moravian reworking of a medieval iconographic tradition. Most of these cards have verses about the side wound of Jesus written in beautiful calligraphy, sometimes in red and green ink. The most intriguing cards have images of the side wound, sometimes with scenes painted into the wound. Aaron Fogleman offered these pictures as evidence for his thesis that the Moravians viewed Jesus as female and considers them as part of their eroticized devotion to Christ. The author of this essay argues that this is a misinterpretation. These cards were probably used by both children and adults in private devotions and are hardly erotic. Rather, they are visual representations of key elements of Moravian wounds mysticism, especially the concept that all aspects of daily life, even eating and sleeping, should be done in the awareness that one is in the body of Christ.
11
Gooding-Williams, Robert. "Beauty as Propaganda." Philosophical Topics 49, no. 1 (2021): 13–33. http://dx.doi.org/10.5840/philtopics20214912.
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This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrecht Dürer’s 1504 painting, “The Adoration of Kings.”
12
Vardanyan, Satenik. "The Image of Jesus Christ in the 20th Century and Contemporary Art of Armenia." IKON 8 (June 2015): 137–44. http://dx.doi.org/10.1484/j.ikon.5.107799.
13
Wicaksono, Singgih Prio, and Anik Juwariyah. "The Visual Language of Consumerism in Contemporary Artworks." Journal of Urban Society's Arts 6, no. 1 (May 1, 2019): 56–62. http://dx.doi.org/10.24821/jousa.v6i1.2263.
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Bahasa Visual Konsumerisme dalam Karya Seni Kontemporer. Artikel ini mendeskripsikan wacana konsumerisme ketika dibahasakan secara visual dalam karya kontemporer. Penelitian ini bertujuan untuk mengetahui pendekatan visualnya, gaya ungkapannya, serta social effect dari karya-karya tersebut. Penelitian ini menggunakan pendekatan deskriptif dengan obyek kajian empat karya kontemporer dunia yang sangat terkenal, “Campbell’s Soup Cans” karya Andi warhol, “Jesus Christ with Shopping Bags” kaya Banksy, “I Shop Therefore I Am” karya Barbara Kruger, “Super Supper” karya Ron English. Berdasarkan analisis terhadap empat karya tersebut dapat disimpulkan bahwa kecenderungan visual pada karya-karya tersebut adalah: (1) memiliki karakteristik visual bergaya Pop Art dengan penggunaan simbol-simbol budaya populer, (2) sarat akan unsur jenaka, satir dan sarkastik, (3) menimbulkan persoalan etis dan estetis.Kata kunci: bahasa visual; konsumerisme; seni kontemporerABSTRACTThis article describes how consumerism discourse is visualized in contemporary works with the aim to find out how the visual approach, how the style of expression, as well as the social effects of these works. Using a descriptive approach with the object of study of four world famous contemporary works, “Campbell’s Soup Cans” by Andi warhol, “Jesus Christ with Shopping Bags” rich in Banksy, “I Shop Therefore I Am” by Barbara Kruger, “Super Supper” by Ron English. Based on the analysis of the four works, it can be concluded that the visual tendencies in these works are: (1) having visual characteristics of Pop Art style with the use of symbols of popular culture, (2) full of humorous, satirical and sarcastic elements, (3) giving rise to ethical and aesthetic issues.Keywords: visual language; consumerism; contemporary art
14
Knust, Jennifer, and Tommy Wasserman. "Earth Accuses Earth: Tracing What Jesus Wrote on the Ground." Harvard Theological Review 103, no. 4 (October 2010): 407–46. http://dx.doi.org/10.1017/s0017816010000799.
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The story of the woman taken in adultery (John 7:53–8:11) has a long, complex history. Well-known in the Latin West, the story was neglected but not forgotten in the East. Incorporated within Late Antique and Early Medieval Gospel manuscripts, depicted in Christian art, East and West, and included within the developing liturgies of Rome and Constantinople, the passage has fascinated interpreters for centuries despite irregularities in its transmission.1 Throughout this long history, one narrative detail has been of particular interest: the content and significance of Jesus— writing. Discussed in sermons, elaborated in manuscripts, and depicted in magnificent illuminations, Jesus— writing has inspired interpreters at least since the fourth century, when Ambrose of Milan first mentioned it. Offering his opinion on the propriety of capital punishment, the bishop turned to the pericope in order to argue that Christians do well to advocate on behalf of the condemned since, by doing so, they imitate the mercy of Christ. Nevertheless, he averred, the imposition of capital punishment remains an option for Christian rulers and judges. After all, God also judges and condemns, as Christ showed when, responding to the men questioning him and accusing the adulteress, he wrote twice on the ground. Demonstrating that “the Jews were condemned by both testaments,” Christ bent over and wrote “with the finger with which he had written the law,” or so the bishop claimed.2 Ambrose offered a further conjecture in a subsequent letter: Jesus wrote “earth, earth, write that these men have been disowned,” a saying he attributes to Jeremiah (compare Jer 22:29),3. As Jeremiah also explains, “Those who have been disowned by their Father are written on the ground,” but the names of Christians are written in heaven.4
15
Elliott, Scott S. "Jesus in the Gutter." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 2 (August 20, 2014): 123–48. http://dx.doi.org/10.1558/post.v7i2.123.
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Graphic novels and comics have long provided a venue for visually portraying biblical narratives. While some provide a clever hook for devotees to capture the imagination in order to safely entertain the existing flock or to entice would-be converts into the fold, others are not concerned primarily with any “faithful” visual rendering of biblical narrative. These productions interrogate and/or appropriate biblical narrative in a variety of ways while maintaining a high degree of fidelity to the requirements of the art form and to the expectations of its readers. This article investigates two works focused on the figure of Jesus, both of which share and exploit the iconoclastic nature and marginal status of the genre, and find in the figure of Jesus a narrative and character uniquely befitting of the form. While neither aims to render Jesus directly, each manages to capture something of both the discursive aspects of the gospel literature, and perhaps something of whatever counter-cultural message and disposition the historical Jesus may have had. Moreover, each manipulates the closure that readers provide through recourse to the familiar biblical text. I contend that these productions faithfully, if ironically, refract the subversive potential of both the biblical narrative and the figure of Jesus precisely by their infidelity to what might be loosely described as a more orthodox Christ.
16
Gusakova, Victoria. "“Ideal” and “life path” as concepts of spiritual and moral education of present-day schoolchildren." St. Tikhon's University Review. Series IV. Pedagogy. Psychology 65 (June 30, 2022): 49–62. http://dx.doi.org/10.15382/sturiv202265.49-62.
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In the article «The Religion and philosophical bases of the content the spiritual and moral education of the pupils today» is given the pedagogical substantiation of the expediency of education to the religious and philosophical thought of Russia as to bases for staffing of the content of the spiritual and moral education of contemporary pupils. The relevance of this content consists in the need for comprehension by the schoolboys of anthropological ideal and sense of life of man in the period of pluralism in the choice of values and behavioral stereotypes. Age-related education to the values, which are stored in the traditions of orthodox culture and by those being been the object of religious and philosophical thought, being been the object of religious and philosophical thought, through the study of the works of Russian literature and art, makes possible for pupils to master the ideal of humanity of Jesus Christ and to see moral guidances in life of the saints at four levels: literal (lowest, simplest), semiotic, moral and highest anagogical. Appealing to the religious and philosophical thought in orthodox culture is caused by the presence in orthodoxy of the appeared anthropological ideal – God-man Jesus Christ. For the effectiveness of this mastering one should integrate verbal and painterly or icon-painterly images in the didactic unit. Special position in the article is given to the idea of the transfiguration of man, which at the literal and semiotic levels they be present in the fairy tales, and finds expression on the moral and anagogical levels in the works of literature, and to the theme of the beauty, in developed in detail in the religious and philosophical heritage. The disclosure of the theme of beauty occurs on the basis of reflection above the means of Jesus Christ in the works by F. M. Dostoyevsky and K. D. Ushinsky, and also based on the example of picture A. A. Ivanov « The Appearance of Christ Before the People». So that the acquaintance of pupils with the religious and philosophical thought would be organic and valuable necessary to acquaint them with the traditions of orthodox culture by the means of literature and art and from the early years to bring up the aesthetical perception of peace and value relation to its manifestations.
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Денисюк, Татьяна Владимировна. "Eucharistic Themes in Ukrainian Art of the XVII-XVIII centuries: A Review of the Monuments." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 124–41. http://dx.doi.org/10.31802/2658-5111-2019-1-124-139.
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Статья посвящена изучению евхаристической тематики в украинском искусстве XVII-XVIII вв. Впервые сделан обзор памятников украинского изобразительного искусства на тему символико-аллегорического изображения темы Евхаристии. В статье приведены примеры икон и картин из собрания Национального музея в Львове, Музея волынской иконы (г. Луцк, Украина), Национального художественного музея Украины (г. Киев), Национального Киево-Печерского историко-культурного заповедника. Анализ композиций позволил выделить и систематизировать символические сюжеты евхаристического содержания. В статье подробно рассматриваются иконы: «Христос Виноградная Лоза», «Христос в точиле», «Христос в чаше», «Недреманное око»; картины: «Пеликан», «Соглядатаи земли Ханаанской», а также другие памятники изобразительного искусства, которые раскрывают христианский догмат Евхаристии, искупительную жертву Христа. Эти сюжеты были широко распространены в иконописи, скульптуре, лицевом шитье, гравюре, резьбе, керамике. Также описаны редкие случаи использования символических сюжетов «Недреманное око» и «Христос Виноградная Лоза» в стенописи. В статье отмечены иконографические особенности каждого сюжета, подробно описаны и проанализированы изображения, проведён сравнительный анализ разных икон с изображением одинакового сюжета, изучен контекст и значение некоторых композиций. The article is devoted to the study of the Eucharistic theme in the Ukrainian art of the XVII-XVIII centuries. For the first time made the review of the monuments of Ukrainian art on the theme of symbolic and allegorical image of the Eucharist theme. The article presents examples of icons and paintings from the collection of the National Museum in Lviv, the Museum of Volyn Icon (Lutsk, Ukraine), the National Art Museum of Ukraine (Kiev), the National Kiev-Pechersk Historical and Cultural Reserve. The analysis of the compositions made it possible to identify and systematize the subjects of the Eucharistic content. The article describes in detail the: “Jesus Christ the Grape-Vine”, “Christ in the winepress”, “Christ in the bowl”, “Undreaming Eye”; pictures: “Pelican”, “The Spies of the land of Canaan” and other monuments of the fine arts, that reveal the Christian dogma of the Eucharist, the atoning sacrifice of Christ.These subjects were widely distributed in icon painting, sculpture, sewing, engraving, carving, and ceramics. The rare instances of the use of the symbolic plots “Undreaming Eye” and “Jesus Christ the Grape-Vine” in murals are described. The iconographic features of each subject are also noted in the article, images are described and analyzed in detail, a comparative analysis of different icons with the image of the same subject was carried out, the context and meaning of some compositions were studied.
18
sadek, sherin. "DIFFERENT ATTITUDES OF JESUS CHRIST IN COPTIC ART الأوضاع المختلفة للسید المسیح فى الفن القبطى." Conference Book of the General Union of Arab Archeologists 16, no. 16 (November 1, 2013): 209–46. http://dx.doi.org/10.21608/cguaa.2013.32586.
19
Walsh, Richard. "The Gospel According to Judas: Myth and Parable." Biblical Interpretation 14, no. 1-2 (2006): 37–53. http://dx.doi.org/10.1163/156851506776145832.
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AbstractJesus films improve the Judas story by adding plot connections and amplifying Judas' character, but their Judases reprise "the Gospel according to _" pattern. Like Jewison's Judas, they all are part of the adoring Christian chorus. Films' selective uses of the gospel Judas incidents intensify the gospel exclusions. Judas remains the traitorous disciple who deserves his fate. Films' visuals continue the iconography of art and create interlocking scenes associating Judas with Jesus' opponents. While some films motivate Judas traditionally, others modernize Judas' motivation in order to create a simulacrum of a modern person. Regardless, Judas remains the mythic other whose exclusion separates us from the evil that we do not wish to accept as part of our self-identity. Films' Judases define what "we" are not. We can arrange the Judases of Jesus films into four types: a traditional Judas, a modern, human Judas, a Christ-figure Judas, and a parabolic Judas. The first two Judases are clearly part of Christian myth-making. While the Christ-figure Judas may suggest an antimyth opposing the Christian myth, it ultimately supports Christian mythology as well. Only the parabolic Judas contests the continuing power of Christian discourse by telling stories alongside "the gospel" story. The parables of Arcand's Daniel and Jones's Brian suggest a view askew on Christian discourse that invites us to read other Jesus films and the gospels themselves parabolically and to find the evil lurking and the "dark night of story" within Christian mythology.
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Lee, Peggy Kyoungwon. "The Alpha Orient." TDR: The Drama Review 66, no. 2 (June 2022): 45–59. http://dx.doi.org/10.1017/s1054204322000090.
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The alpha brain wave sonification inaugurated by Alvin Lucier in Music for Solo Performer (1965) ushered in biofeedback as a new possibility for art and a racialized fantasy of the “Orient.” The “Alpha Orient” encompasses sonic methods equating alpha brain waves with the supposed exceptional “composure” and “silence” of the East. Eunoia (2013-2014) by Lisa Park and Yoko Ono’s 1964 Cut Piece and 1965 Sky Piece for Jesus Christ expose the Alpha Orient as an ableist fantasy of the Asian woman in the remarkable soundness of her self-control.
21
Posset, Franz. "Martin Luther on Deësis: His Rejection of the Artistic Representation of "Jesus, John, and Mary"." Renaissance and Reformation 32, no. 3 (January 22, 2009): 57–76. http://dx.doi.org/10.33137/rr.v32i3.11576.
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At times, Reformation scholars and art historians are confused about Luther's attitude toward the visual arts which depict saints as intermediaries between God and humanity. Rarely do they thematize the issue in relation to the deësis, i.e. Christ enthroned, with Mary and John the Baptist as intercessors. After a review of the wide-spread motif of the deësis, light is being shed on Luther's statements of the 1530s which reflect his rejection of the motif.
22
Павлова, Анна Леонидовна. "Composition «The trial of Jesus Christ» as a Part of St. Nicholas Church Mural Paintings in Boboli Village." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 37–51. http://dx.doi.org/10.31802/bcaa.2020.3.2.003.
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В статье впервые в научный оборот вводится новый памятник монументального искусства последней четверти XIX столетия в Калужской области - масляные росписи Никольской церкви с. Боболи. Среди сюжетов стенописи выделяется необычная композиция - «Суд над Христом», принадлежащая редкой иконографической традиции. Рассмотрение отдельно взятого сюжета в контексте программы росписей помогает внимательно изучить феномен сельского искусства того времени. В нём отразились различные религиозные и культурные интересы экономически развитого крупного села, получили развитие стилистические предпочтения эпохи эклектики. Характер стенописи сформирован на сочетании типичных столичных академических образцов и приёмов народного искусства. Наиболее ярким проявлением выразительного языка региональной живописи стала композиция «Суд над Христом». В ней своеобразно, наглядно и подробно раскрыта традиционная тема сопоставления Ветхого и Нового Заветов как часть страстного и христологического циклов росписи. A new example of the last quarter of the 19th century monumental art in Kaluga region, namely, the oil wall paintings of St. Nicholas Church in Boboli village are introduced into scholarly circulation for the first time in this paper. An unusual composition «The trial of Jesus Christ» is notable among other mural subjects for its rare iconographic tradition. The examination of a separately taken subject in the context of the whole paintings programme helps one to study carefully the phenomenon of the rural art of that time. It reflected the various religious and cultural interests of a big economically well-developed village, in which the stylistic preferences in the age of eclecticism were further elaborated. Some wall painting features are combinations of typically metropolitan academic patterns and rural folk art devices. The composition of «The trial of Jesus Christ» became the brightest example of the regional paintings expressive language. The traditional motif of the contradiction between the Old and New Testaments are developed there in the most original, clear and detailed way as a part of the Passion and Christological painting cycles.
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Čulina, Tatjana. "Five Depictions of the Circumcision of Jesus Christ from the Croatian Sacral Heritage." Acta medico-historica Adriatica 19, no. 1 (2021): 19–32. http://dx.doi.org/10.31952/amha.19.1.1.
Abstract:
Male circumcision has been perceived differently in different cultures. In modern times, if it is a non-medical indication, circumcision becomes the starting point of many ethical and other discussions. Its rootedness in Christianity is fixed, among other things, in sacral art and iconography. This article presents five sacral images of the Circumcision of Christ from the holdings of the Croatian sacral heritage with the aim of noticing their iconographic and sacral-medical values. In this article, it is presented the results of field research related to the identification and medical-iconographic presentation of the motive for the circumcision of Jesus Christ in the area of the northern and central Adriatic coast. Five such paintings have been recorded and will be described and compared with similar works by European masters. These are the works of Venetian and Central European provenance and were created between the 16th and 18th centuries. The basic traditional Jewish iconography is visible in all the paintings but modified according to current religious standards. These depictions from the area of Croatia contextualizing and filling in the gaps in verbal records on this topic in our region fit Croatia into an undoubted component of the European Judeo-Christian heritage and when it comes to rare iconographic depictions.
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Szymik, Jerzy. "Chrystocentryzm. Dialog Kościoła i świata." Verbum Vitae 6 (December 14, 2004): 227–39. http://dx.doi.org/10.31743/vv.1374.
Abstract:
The most profound Catholic – (from kat’holon „concerning the whole”) – understanding of Christocentrism is not (and cannot be) an impediment to the Church’s dialogue with the world, faith and culture, theology and art. It is not a problem in interreligious dialogue either. If there are barriers, this means that we are just starting on our way, that all sides undertaking dialogue need to be cleansed. Jesus Christ is on everyone’s side, he is not against anyone. The fact that God has loved man so much that He became a man is the most fundamental basis for the framework of understanding and unity. And it is our future.
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Graham, Gordon. "Book Review: Jesus Incognito: The Hidden Christ in Western Art since 1960, written by Martien E. Brinkman." Journal of Reformed Theology 9, no. 2 (2015): 232–33. http://dx.doi.org/10.1163/15697312-00902012.
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Maksimovic, Jovan, and Marko Maksimovic. "Key moments of terrestrial life of the main biblical characters in sacral iconography of Vojvodina." Archive of Oncology 18, no. 4 (2010): 103–10. http://dx.doi.org/10.2298/aoo1004103m.
Abstract:
Beside the motif of death, the motifs connected to pregnancy, delivery and childhood are the most often motifs depicted in Christian iconography in general. They indicate the importance of terrestrial life and living among people of the main Biblical characters: Jesus Christ, the Mother of God and St. John the Baptist. Presenting the key moments of any human life, starting from conception, pregnancy and delivery, maternity and childhood, all the way to death, these iconographic themes try to stress out the double nature of given characters, both divine and humane. The first iconographic presentations of these Biblical events in Vojvodina belong to biography (fresco painting) of the Fruska Gora mountain monasteries. In the middle of the 18th century, in Vojvodina, as well as in all other Austrian countries where the Serbs lived, some artists, who marked the beginning of a new baroque period, appeared. This research raised a question: how is it possible to find biological-medical content in dogmatic, theological teachings of the Bible characters, predominantly the Mother of God and Jesus Christ and events related to them, which were described in Bible and artistically depicted in sacral iconography? The sacral works of art in Vojvodina were analyzed in this research from this aspect. The themes were systematized and, with respect to all religious dogmas, some biologicalmedical and physiological elements in events of these characters' lives were classified into seven thematic groups.
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Duţică, Gheorghe. "Voices of Edification Calls for Salvation – an Oratorio (Pilgrims to Saint Parascheva) by Viorel Munteanu." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 97–132. http://dx.doi.org/10.2478/ajm-2021-0005.
Abstract:
Abstract After the glorious reception of Voices of Putna – a key contribution to the genre – Viorel Munteanu makes now a new “offering of sound and letter”, a “different” sort of eulogy for the Orthodox Byzantine monody, meaning to encourage us to embark on the difficult journey of salvation together with the endless train of “pilgrims to Saint Parascheva”. It is, thus, a daring compositional effort that will be spiritually experienced by both its creator and its public, from the first contact with the graceful resonance of the title to the last shimmer of sound at the end of the final scene. If one considers the Orthodox art and its spirit, Viorel Munteanu’s Oratorio for Saint Parascheva is more than a creative act; it is an act of faith, of hope and of love, “a prayer to”, and “joy in”, Jesus Christ; it is living tradition and self-giving truth, by which we partake to one of the most memorable unions of Christian experiences and symbols.
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MĂNĂILESCU, Sorana. "The Bible and Musical Postmodernism." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 117–26. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.11.
Abstract:
The paper examines formal changes of traditional church music in postmodernism: the choice of brief passages in the Bible characterised by soul searching (Jesus musing on his destiny, experiencing confusion about his purpose and mission), heroic acts (Esther and Judith saving the Jewish people), self-sacrifice and moral fables rather than key chapters of dogmatic stringency. Characteristic of postmodernist aesthetics are the combination of high and low art, fragmentation, and hybridity. Music rooted in the Bible draws on heterogeneous sources, such as medieval religious mysteries (the Wakefield Mysteries), jazz, folk music (Celtic, Far Eastern or East European, as in James MacMillan’s Seven Last Words from the Cross, 1994) quasi ancient music (actually a pastiche, as in Howard Goodall’s The Beautitudes, 2009). The sacramental atmosphere is lost in a narrative about a tamed and belittled Jesus figure: The Boy (1977) by David Palmer, or El Niňo (2000) by John Adams. These compositions at the turn of the millennium are belated and sublimated echoes of the rock operas of the ’70s, which carried with them intimations of politics (as in Yale Marshall’s The Business of Good Government, 1970), disseminating concern for the public spirit, care for the wretched of the earth, support for the hippie movement and ideology (especially Lloyd-Weber’s Jesus Christ Superstar).
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Stoian, S. P. "UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.
Abstract:
The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husband- man", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.
30
Lipovetsky, Mark. "A Trickster in Drag: Vlad Mamyshev-Monroe’s Aesthetic of Camp." Arts 11, no. 5 (September 13, 2022): 87. http://dx.doi.org/10.3390/arts11050087.
Abstract:
The article discusses an artistic method of the post-Soviet artist Vlad Mamyshev-Monroe (1969–2013) as the nexus of several traditions embedded in modernist legacy. His main genre is remastered (scratched) photographs depicting him impersonating various historical and fictional characters, from Marylyn Monroe (whom he considered his alter ego) to Hitler, Jesus Christ, and Putin. His art and artistically designed image creatively develop the tradition of modernist life-creation (zhiznetvorchestvo), which he enriches by camp, thus becoming a pioneer of this elusive sensibility in post-Soviet culture. Camp, in turn, facilitates Mamyshev-Monroe’s self-fashioning as the trickster whose transgressivity and ambivalence absorb his queerness and drag spectacles, and whose hyperperformativity manifests itself in his performative art. The article analyzes how Mamyshev-Monroe appropriates various cultural material in the trickster’s way by using camp for its critique and deconstruction. The case of Mamyshev-Monroe is especially important since it demonstrates the limits of the trickster’s transgression that resists its instrumentalization by the authoritarian state.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
Abstract:
The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
32
Jose, Chiramel Paul. "Blake’s Songs, Their Introductions and the Bible." English Language and Literature Studies 7, no. 2 (May 30, 2017): 43. http://dx.doi.org/10.5539/ells.v7n2p43.
Abstract:
Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake’s works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect.
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Saenkova, Elena. "A Newfound Icon “Sophia the Wisdom of God with Miracle-Working Icons of the Mother of God” of the Late 17th — Early 18th Century: Aspects of the Iconographic Programme." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015810-0.
Abstract:
The article discusses the unique theological programme of an icon painted in the town of Vologda at the turn of the 17th to the 18th century. The icon combines the image of Sophia the Wisdom of God with the miraculous icons of the Mother of God: “The Lamenting Virgin”, “Our Lady of Georgia”, “The Virgin Eleousa” and “Our Lady of the Kievan Caves”. The image of Sophia the Wisdom of God has a number of significant differences from the classical iconography that became widespread in the Russian art of the 16th and 17th centuries: there is no image of Jesus Christ and the figure of the fiery-faced angel is inscribed as “IC XC”. The study of this icon provides new information for the interpretation of the theme of Sophia the Wisdom of God in Russian culture of the 17th — 18th century.
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Sharapenkova, Natalia, and Polina Iakusheva. "THE GOD-SEEKING IN PÄR LAGERKVIST’S PROSE." Studia Humanitatis 17, no. 4 (December 2020): 26–33. http://dx.doi.org/10.15393/j12.art.2020.3664.
Abstract:
Thematic justification for the article is the growing interest of researchers for so called minor literatures, including Swedish literature, as well as for the philosophical and religious themes in literary texts. The choice of topic is also motivated by the small number of research papers on Pär Lagerkvist’s works in Russian, despite the importance of his legacy for global culture. The goal of the article is to analyze the motif of god-seeking in Pär Lagerkvist’s prose and its transformation throughout his body of work. In the article the following conclusions are drawn: The motif of God-seeking, which is linked to the search for the truth and answers to eternal questions, plays an important role in P. Lagerkvist’s works, and its transformation reflects the evolution of his religious and philosophical views. While in the beginning of his literary career Lagerkvist thought it possible to give answers to eternal questions, later in his life searching and doubt themselves take on greater and greater importance and are interpreted as the human condition. The article offers a classification of the motif of god-seeking in relation to P. Lagerkvist’s body of work: outer (“The Eternal Smile”, “The Hangman”) and inner manifestations (“Barabbas”, “Guest of Reality”). In relation to the motif of god-seeking an especial importance of the figure of Jesus Christ, who symbolizes the humanistic and Christian ideal, is noted as one of the key elements of P. Lagerkvist’s poetic style.
35
Hunt, Margaret Wiedemann. "‘Playwrights Are Not Evangelists’: Dorothy L. Sayers on Translating the Gospels into Drama." Studies in Church History 53 (May 26, 2017): 405–19. http://dx.doi.org/10.1017/stc.2016.24.
Abstract:
Dorothy L. Sayers's twelve-part wartime radio life of Christ The Man Born to be King has been judged ‘an astonishing and far-reaching innovation’, not only because it used colloquial speech and because Jesus was a character voiced by an actor, but also because it brought the gospels into people's lives in a way that demanded an imaginative response. In spite of this, Sayers insisted that her purpose was not evangelization. Sayers's writing on theological aesthetics asserts that a work of art will only speak to its audience if the artist ‘serves the work’ rather than trying to preach. This article locates her thinking in the context of William Temple's sacramentalism and Jacques Maritain's neo-Thomism, suggesting that Temple's biblical exegesis was central to her approach in dramatizing the gospels. Finally an argument is made for Sayers's influence on mid-century thinking about the arts through her association with Bishop George Bell.
36
ΦΩΣΚΟΛΟΥ, Βασιλική. "Αναζητώντας την εικόνα του Ελκομένου της Μονεμβασίας. Το χαμένο παλλάδιο της πόλης και η επίδρασή του στα υστεροβυζαντινά μνημεία του νότιου ελλαδικού χώρου." BYZANTINA SYMMEIKTA 14 (September 26, 2008): 229. http://dx.doi.org/10.12681/byzsym.879.
Abstract:
<p>Vassiliki Foskolou</p><p>Tracing the Monemvasia Icon of Christ Helkomenos. The City's lost Palladium and its Influence on the Late Byzantine Monuments of Southern Greece</p><p>The study's aim is to trace the now lost Monemvasia icon of Christ Helkomenos. Our knowledge of the city's celebrated palladium is confined to fragmentary information deriving from narrative sources. Specifically, we know that it was transferred by Isaac Comnenos to Constantinople in the late 12th century; as for the scene represented on the icon, our sole information comes from an epigram by John Apokaukos.</p><p>The written sources as well as some recent oral testimonies, reveal also the icon's importance to local tradition; this leads us to the thought that the famous icon might have influenced the artistic production of southern Greece. The research resulted to the conclusion that a specific iconographie type of Christ Helkomenos is widely diffused throughout the late Byzantine monuments of this area, especially of Laconia (Peloponnese). In this iconographie type, Jesus, wearing a red tunic and a crown of thorns, is standing facing the Cross, which is already fixed on the ground with a ladder standing against it. This basic notion is in some examples enriched with secondary figures such as Roman soldiers accompanying Jesus, or the Jewish prelate. The latter, pointing towards the symbol of Passion, is ordering Jesus to ascend, by the exclaiming word «ἀνάβηθι», which is usually inscribed at the background of the scene.</p><p>Since G. Millet's days (1916), scholars have already expressed assumptions regarding a probable relation between these depictions and the lost icon. However, having as a starting point the above -quite appealing- thought, and based on the currently available evidence, we must pose two questions, presented below.</p><p>The theme of Christ Helkomenos is depicted in Byzantine Art in two different iconographie forms. The theme, moreover, does not belong to the illustrations of the Great Feasts of the liturgical Calendar, which were usually represented in Byzantine icons. So the following question arises: Is it possible for the iconographie type found in Laconia to have been used for a devotional icon and, furthermore, to reflect the Monemvasia palladium?</p><p>If we accept a positive answer to the first question, we have then to answer the second one: in what way the icon, kept at the Archangel Michael Monastery en <em>to Anaplo</em> in Constantinople since the late 12th century, could have been used as a model for several monuments in its «native» land?</p><p>A brief review of the iconographic type's evolution, combined with research into Monemvasia's historical profile in the end of the 13th century, provides us with satisfactory answers to our questions and allows an approach to the city's legendary icon.</p><p> </p>
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Rials, Megan Joy, and Jerry L. Walls. "Reflecting Christ in Life and Art: The Divine Dance of Self-Giving in C. S. Lewis’s Till We Have Faces." Perichoresis 20, no. 3 (May 19, 2022): 73–90. http://dx.doi.org/10.2478/perc-2022-0018.
Abstract:
Abstract This essay examines how C. S. Lewis, in Till We Have Faces, illustrates the Christian’s journey of sanctification through the pre-Christian story of his main character, Orual. She must gain two ‘faces’ in this process that correspond to the two books she writes. First, she must gain the face of self-knowledge through humility. The key components to this face are her memory and the act of writing of her first book, which together create a mirror to reflect her sin back to her. Second, Orual must gain the face of transformation through divine agape love. The humility she learned from her first face now allows her to enter what Lewis describes as the dance of self-giving, which is a crucial element to the second face of transformation in its mortification of Orual’s sin and selfishness. In the second face, Orual gains access to an ‘actual language’ that transcends merely verbal words and involves worshipping the god with her whole being, as do we in being transformed to reflect Christ more clearly. Orual’s writing is a form of this ‘actual language’, and her second book that shares her personal encounter with the god of the mountain reflects to others the beauty of the divine. Similarly, Christians should reflect Jesus with their lives and their art, which are inextricably intertwined because a life lived for Him is the highest form of artwork they can create.
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Mary Philip, Daphne. "Christianity and Spirituality in Healthcare." Journal of Quality in Health Care & Economics 5, no. 3 (2022): 1–4. http://dx.doi.org/10.23880/jqhe-16000274.
Abstract:
According to the American Medical Association, ‘Health care is a fundamental human good because it affects our opportunity to pursue life goals, reduces our pain and suffering, helps prevent premature loss of life, and provides information needed to plan for our lives.’ Christianity is the world’s largest religion and most widely diffused of all faiths stemming from the life teachings of Jesus Christ. Religion, medicine, and healthcare have always been intertwined from history. Dating back throughout the Middle Ages and up to the French Revolution, physicians were often clergy. The first hospital in the West was started by a religious organization and staffed by religious orders. Researchers at the Mayo Clinic have concluded that, “Most studies have shown that religious involvement and spirituality are associated with better health outcomes, including greater longevity, coping skills, and health-related quality of life (even during terminal illness) and less anxiety, depression, and suicide. Several studies have shown that addressing the spiritual needs of the patient may enhance recovery from illness.” Jesus Christ in his teachings instructed his followers to heal the sick and since then the early church and Christians practiced practical charity that gave a basis to nursing homes and hospitals. Jews and Christians believed that human worth was predicated on the fact that each person was created in the image and likeness of God, which—for Christians—was directly stated in Matthew 25:40 “Whatever you do to the least of these, you do to me.” In recent times, when people are faced with many health issues that medical professionals do not seem to have an answer for, looking outside of the traditional health setting and up to a divine power for healing has been on the rise. A 2018 survey of American physicians and patients suggests that about 64% of physicians believe in the existence of God or a higher power, and more than 90% of patients claimed the same. Jesus in his teachings emphasized the need of treating every human with love, which is why Christian hospitals were established with the main aim of practicing the teachings of Jesus and alleviating suffering of the sick. It is also noted that there is an increase in modern western medicine with the importance of patient spirituality in treatment and healing which must be considered by healthcare professionals while providing care. As for physicians who are rooted in the Christian faith, they would provide care to their patients keeping in mind that they are made in the image of God. Since healing is an art which is personal and human, there is only a limited amount of human intervention which can contribute to its success. When modern medicine and Christian faith is intertwined in patient care, the provider and patient feel a sense of spiritual calmness that contribute to the total healing journey
39
Van den Berg, Mariecke. "Zie de mens." Religie & Samenleving 11, no. 2 (September 1, 2016): 249–70. http://dx.doi.org/10.54195/rs.12214.
Abstract:
This article analyzes the photo-exhibition Ecce Homo (1998) by Swedish artist Elisabeth Ohlson Wallin. In Ecce Homo, which depicts twelve moments from the life of Jesus Christ, traditional church art is mixed with the themes and symbols of contemporary LGBT-culture. In the article it is investigated, through a queer focus, whether Ecce Homo has the potential to destabilize the rather strict oppositional pairing of religion and homosexuality in contemporary debates in post-secular societies like Sweden. Based on a discussion of three works (The Annunciation, Palm Sunday and Calvary) it is argued that Ecce Homo connects traditional Christian motives such as the love for one’s neighbor, (self)sacrifice and charity to queer concepts such as the instability of gender and sexuality and the destabilizing potential of ‘darkness’ as an aesthetic theme. As queer and Christian concepts inform each other they are given meaning in relation to each other, thus indeed (for the most part) suggesting that queer and Christian themes are relevant to one another and sometimes overlap.
40
Anderson, Michael Alan. "The One Who Comes After Me." Journal of the American Musicological Society 66, no. 3 (2013): 639–708. http://dx.doi.org/10.1525/jams.2013.66.3.639.
Abstract:
Abstract Studies of the past two decades have shown that late medieval and Renaissance composers participated in a culture of symbolic representation by inscribing Christian figures and concepts into musical design. One figure who has been overlooked in this line of scholarship is John the Baptist, the precursor of Christ. This essay outlines the Baptist's historical impact on the conception of Christian temporality and proceeds to demonstrate some distinct experiments in fourteenth- and fifteenth-century music for John that express his predecessory character through emblematic manipulations of temporal parameters. By the sixteenth century, several inscriptions found in Vatican manuscripts reveal that the Baptist was associated with a particular musical craft that controls masterfully the unfolding of time: the art of canon. Drawing heavily on Scripture (especially John 1:15, 27, 30) to articulate the compositional conceits, the rubrics likened the leader (dux) and follower (comes) of a canon to the relationship between John (the forerunner saint) and Jesus. The analogy intensified around the papal chapel choirbook Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38.
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Shyroka, Оksana. "ORIGIN, STRUCTURE AND ICONOGRAPHY OF AKATHIST TO THE VIRGIN AND AKATHIST OF JESUS CHRIST IN THE UKRAINIAN ART OF THE XVII—XVIII CENTURIES." Ethnology Notebooks 144, no. 6 (November 5, 2018): 1589–95. http://dx.doi.org/10.15407/nz2018.06.1589.
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Odrekhivskyi, Roman. "Memorial buildings of Ternopil region (origins and formation of design in the XIX — first third of the XX century)." Culturology Ideas, no. 21 (1'2022) (2021): 128–37. http://dx.doi.org/10.37627/2311-9489-21-2022-1.128-137.
Abstract:
Ternopil region today is the center of tourist routes. Many monuments of memorial stonework have been preserved here. Most of them are currently in an abandoned and little-studied state. Therefore, the research of memorial buildings is relevant today. The research methodology is based on systematics, reliability, logic, historicism. The purpose of the study is to begin a comprehensive work on the study, preservation, restoration of memorials and to explore the problem of using these art objects for tourism purposes. The author examined hundreds of memorial buildings in Ternopil region. Most of them have been developed and put into scientific circulation for the first time. In particular, in Terebovlya, Narayiv and other centers of stonemasonry. The national peculiarities of memorial constructions of masonry are considered, i.e. isosceles/ Greek type of crosses with endings in the form of a shamrock, peculiarities of iconography of drawings of figures of Saints, of Jesus Christ, etc., thematic variety of sculptural figures. In the perspective of further research, it is recommended to provide theoretical justifications for the creation of lapidary museums of memorials in order to better preserve them for posterity and use as artistic objects for tourist routes.
43
Fedorova, Irina. "THE TEMPTATION MOTIF IN THE OLD RUSSIAN APOCRYPHA "ZOSIMA’S JOURNEY TO THE RAHMANS"." Проблемы исторической поэтики 19, no. 4 (December 2021): 149–70. http://dx.doi.org/10.15393/j9.art.2021.10143.
Abstract:
The article examines the functioning of the temptation motif in the ancient Russian apocrypha Zosima’s Journey to the Rahmans. The methods of implementing this motif in the text are analyzed; its significance in the plot of the work and in the formation of the image of the earthly paradise, with which the country of the blessed is associated in this literary work, is established. The biblical source of the motif is the Old Testament story of the fall of Adam and Eve and the test of the strength of faith, embodied in the temptation of Jesus Christ by the devil in the desert. The heterogenous structure of Zosima’s Journey to the Rahmans, where independent plots are integrated (the legendary story of the Rekhabites and the description of the land of the blessed), determined the varied realizations of the motif temptation in the text. An analysis revealed that the prologue of the literary work already contains an allusion to the Gospel temptation plot (a report of the forty-day prayer of the hermit to God). In the story of the Rechabites’ opposition to the king of Jerusalem and the story of the confrontation between Zosima and the devil, the motif of temptation is a plot-forming one. The story of the hermit’s temptation is formed by two storylines: Zosima's opposition to the devil and the fall of the first people, told by the tempter to intimidate the hermit. The Old Testament sin of Adam was developed in the storyline of Zosima and the Rechabite elder, who denounced the hermit as a «preacher» who involuntarily tried to persuade him to lie. The motif of temptation in Zosima’s Journey to the Rahmans may have been expressed explicitly, or merely be discernible, as in the story about the observance of Great Lent by the blessed or through the symbolic connotation of the numbers used in the literary work. The article also demonstrates that changes in the literary history of the apocrypha were reflected in the implementation of the temptation motif in its text.
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Казакова, Ирина Борисовна, and Евгения Викторовна Сафонова. "UNITY OF TRAINING AND EDUCATION IN ART LESSONS: PEDAGOGICAL TECHNOLOGY «IMAGE AND THOUGHT»." Вестник Тверского государственного университета. Серия: Педагогика и психология, no. 3(60) (October 17, 2022): 128–38. http://dx.doi.org/10.26456/vtpsyped/2022.3.128.
Abstract:
Анализируется проблема интеграции образовательных и воспитательных технологий при обучении гуманитарным дисциплинам в школе на примере технологии «Образ и мысль». Уточнены и конкретизированы такие ведущие категории исследования, как: «духовность», «духовная потребность», «художественная образность». В качестве иллюстрации применения технологии «Образ и мысль» приводятся методические рекомендации для проведения урока на тему «Интерпретация в изобразительном искусстве сюжета "Иисус Христос в доме Марфы и Марии"», объединяющую в себе религиозную, моральную, искусствоведческую и историко-культурную проблематику. Методологической основой являются системный, личностно-деятельностный и культурологический подходы. Рассмотрев особенности педагогической технологии «Образ и мысль» и возможности применения ее образовательного и воспитательного потенциала, авторы статьи пришли к выводу о целесообразности использования этой технологии при обучении гуманитарным дисциплинам, задачей которых является не только получение обучающимися конкретных знаний об истории культуры, но и формирование личности, интегрированной в духовную жизнь человеческого общества. The article analyzes the problem of integrating educational and upbringing technologies in teaching humanitarian disciplines at school using the example of the technology «Image and Thought». Such leading categories of research as spirituality, spiritual need, artistic imagery. As an illustration of the application of the «Image and Thought» technology, provides guidelines for conducting a lesson on the topic «Interpretation in the visual arts of the plot "Jesus Christ in the House of Martha and Mary"», combining religious, moral, art history and historical cultural issues.The methodological basis is systemic, personal-activity and cultural approaches. Having considered the features of the pedagogical technology "Image and Thought" and the possibilities of using its educational and educational potential, the authors of the article came to the conclusion that it is expedient to use this technology in teaching humanities, whose task is not only to get students specific knowledge about the history of culture, but also to form a personality integrated into the spiritual life of human society.
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Sargsyan, Lusine, and Davit Ghazaryan. "Armenian Amulets from the Collection of Armenian Orthodox Diocese in Baghdad." Incantatio. An International Journal on Charms, Charmers and Charming 9 (December 2021): 42–79. http://dx.doi.org/10.7592/incantatio2020_9_sargsyan_ghazaryan.
Abstract:
This study is dedicated to the Armenian manuscript and printed Amulet1 of the Armenian Diocese of Baghdad (DAOB). In this collection of early printings, there are two printed Amulets in scroll (Pr. n. 14, second half of the 19th century and Pr. n. 15, A.D. 1716). The third Amulet is a manuscript written in 1736 in the city of Erzrum (Karin) for a certain Ohan (Ms. n. 13). The scanned copies of these amulets are currently available through the website of Hill Museum and Manuscript Library (HMML).2 Since this paper is the first study of these amulets, it presents them in terms of codicology and bibliographical study and discusses their decoration. The study of some iconographic details will help to reveal the practice of using amulets and their meaning, considering them as a representation of Armenian “folklore-art”, since scribes and miniaturists were partly free to choose texts and decorate them, even they were mostly works of the priesthood.3 It should be noted that as artifacts of the same genre, having a purpose of protection of their owners using incantations and prayers, very often the content and decoration of these three Amulets have similarities. From this point of view, Ms. n. 13 (A.D. 1736) and Pr. n. 15 (A.D. 1716) are more relevant to each other both in content and, accordingly, in decoration. A selection of prayers and illustrations to them show almost the same structure, and for the printed Amulet, we can certainly argue that such structure was typical (but not limited) for the printed Amulets in the Armenian tradition from the 18th to 19th centuries. Despite some similarities with two previous Amulets, the Pr. n. 14 (19th century) represent another structure of content and its decoration. It is enriched with prayers and illustrations which does not exist in mentioned above two examples of the 18th century. E.g. engravings depicting the life of Christ (Annunciation, Birth of Jesus Christ, Baptism, Resurrection, etc.), or portraits of the evangelists, accompanied by the passages from their Gospels. Our research shows that the publishers of this Amulet had an eighteenth-century prototype and took an innovative approach using Western art engravings.
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Vasnev, Sergey Ivanovich. "The spiritual path of Fyodor Dostoevsky." Neophilology, no. 2 (2022): 385–92. http://dx.doi.org/10.20310/2587-6953-2022-8-2-385-392.
Abstract:
The analytical review of the main milestones in spiritual development of the great writer F.M. Dostoevsky’s personality from the standpoint of Orthodox dogma and morality is presented. The relevance of the research is determined by high interest in his life and work among each gen-eration of readers and the presence of a deep connection between his spiritual quest and moral problems that concern our contemporaries. Using biographical, cultural-historical and historical-functional research methods, a three-part model of the spiritual growth of F.M. Dostoevsky is con-structed, the core image of which is the figure of Jesus Christ. The features of the writer’s percep-tion of the Orthodox dogma at each stage of his life’s journey are studied. At the end of the work, a conclusion is made about high missionary and pedagogical potential contained both in works of art and in the biography of Russian literature classic, examples of the moral impact of his life and work on the fate of specific people are given. The research materials can be used in teaching Rus-sian Literature, Basics of Orthodox Culture and other disciplines in the course of a secondary edu-cation, as well as specialized secondary and higher education.
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Tsihan, Xia. "ROCK OPERA GENRE AND ITS OUTSTANDING EXAMPLES IN THE MUSICAL CULTURE OF THE LAST THIRD OF THE XXTH CENTURY." Arts education and science 1, no. 3 (2020): 168–72. http://dx.doi.org/10.36871/hon.202003020.
Abstract:
The article reveals the features of rock opera as a genre of mass musical culture in the last third of the XXth century. On the example of two outstanding genre samples — "Jesus Christ Superstar" by E. Lloyd-Webber and T. Rice and "The Star and Death of Joaquin Murieta" by A. Rybnikov and M. Zakharov — the specifics of the plot interpretation, dramaturge organization, musical and expressive means and life forms of the work are considered. At the same time the author presents the background content of the two rock operas, the characteristics of their creators and the history of the first performance. The conclusion is drawn about their significance in modern mass musical culture. The media side of a rock opera is also emphasized, which tunes it to comparison with the art of cinema, establishing a connection between rock opera and musical, as one of the most popular and communicative genres of modern musical theater. The conclusions highlight the liveliness and innovation of the two works, which are an organic part of rock aesthetics. Both works introduce into the musical and poetic text "lexemes" the spoken language of youth as markers of the genre and attributes of belonging to rock culture. Until now, they are undisputed masterpieces of world popular music and stage culture.
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Grene, Clement. "Book Review: Next Time I’m in Church, Please No Photos: Martien E. Brinkman (trans. Henry Jansen), Jesus Incognito: The Hidden Christ in Western Art since 1960." Expository Times 126, no. 5 (February 2015): 248–49. http://dx.doi.org/10.1177/0014524614549132d.
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Turilov, Anatolij A. "On the Palaeographic Dating of Two Reliquaries from the Annunciation Cathedral of the Moscow Kremlin." Slovene 4, no. 1 (2015): 511–25. http://dx.doi.org/10.31168/2305-6754.2015.4.1.31.
Abstract:
This article is devoted to the palaeographic dating of two precious medallions-reliquaries originating from the sacristy of the Annunciation Cathedral of the Moscow Kremlin. One of them (made of silver) is decorated with the image of the Savior, surrounded by the apostles on the front side and, on the back, by the Virgin surrounded by prophets. On the front side of the second reliquary (made of gold) is a depiction of the Nativity and, on the back, part of the Presentation of Jesus at the Temple, i.e., St. Simeon the God-receiver with the infant Christ in his arms and surrounded by saints. Until recently, there had been no palaeographic dating for these monuments. In terms of style, they had been dated by historians of art to the last third of the 15th century and, primarily due to their rounded shape, they had been connected with the second wife of Grand Prince Ivan III, Sophia Palaeologos (despite the fact that neither work portrays the patrons). By examining the labels, which combine a number of archaic styles dating back to the end of the 14th century and include innovations of the “younger” Russian poluustav, one can attribute the medallions to the first quarter or first third of the 15th century, i.e., the time of Andrei Rublev.
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Naie, Lăcrămioara. "4. Project “Easter Triptych”." Review of Artistic Education 1, no. 23 (April 1, 2022): 34–39. http://dx.doi.org/10.2478/rae-2022-0004.
Abstract:
Abstract The “Easter Triptych” project was conducted in six annual editions (except for 2020 and 2021 – the years of the Coronavirus Pandemic). It was conceived and achieved in the name and in the spirit of the three important moments in the history of our humanity: Birth, Passion and Joy of the Resurrection of our Savior Jesus Christ. This great religious cultural project was attended by important personalities of Iaşi and not only, such as lyrical artists from the Romanian National Opera Iaşi, church persons from the Metropolitan Church of Moldavia and Bukovina, university professors, ethnographers, craftsmen and students. We were joined by Radio Romania Cultural Bucharest, Radio Iasi, TV Iasi, Radio “Trinitas” and “Moldova” National Museum Complex Iasi. With this important project, I also went to Austria, Vienna, to the Romanian Cultural Center and to the Republic of Moldova, to “Alecu Russo” State University Balti. Each edition presented under its generous scope, equally traditions, customs and beliefs firmly established in our soul and conscience as Romanians. The events included moments of musical art: classical musical works (lyrical, instrumental, choral), Christmas carols, Easter songs, religious poems, book launches, exhibitions of decorated eggs from the Bukovina area, exhibitions of icons, crosses, carpets woven in monasteries, ceramic objects from Horezu, wooden sculpture objects and traditional folk costumes. In addition to these, there was a CD: “Easter Triptych”.