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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
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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.
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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.
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Sherlin Johnson and S. Prabahar. "Transmedial Analysis of the Passion Narrative in the Scripture and the Movie the Passion of the Christ." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 376–79. http://dx.doi.org/10.34293/rtdh.v12is1-dec.123.
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Transmedia storytelling is the art of narrating stories using various media, with each medium adding something distinct to the narrative universe. This narrative universe may be accomplished with any media, including radio, TV, movies, video games, internet video, and web applications. The paper aims to demonstrate how different media platforms may convey one or more events over various channels to create a coherent whole. The article aims to comprehend the intricacies of translating written information into a visual medium using a cinematic approach. This study examines a trans-medial examination of two distinct transmedia storytelling approaches: the conventional methods of conveying the gospels in the Bible and the translation of the Gospels in the Scripture into a film. The two sources that were taken into consideration are the Four Gospels in the Holy Bible, which describes the final hours of Jesus’ life on Earth, and Mel Gibson’s film adaptation of those Gospels in the Scripture, The Passion of the Christ, which shows the events surrounding Christ’s conception, life, teachings, healings, temptation, and the crucifixion of Jesus Christ. Gibson opted for the transmedia medium of a movie to raise global awareness of Jesus’ sufferings in his last hours on Earth. This essay traces Gibson’s creative liberty by comparing his portrayal of The Passion of the Christ to the Biblical account of Jesus’ suffering in his final hours.
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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.
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Dillon, Amanda. "“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53." Religions 14, no. 3 (March 10, 2023): 370. http://dx.doi.org/10.3390/rel14030370.
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The Arma Christi, the instruments of the Passion of Christ, are a fascinating collection of symbols evident throughout the history of Christian art. This article considers the striking re-emergence of visual depictions of the Arma Christi in the contemporary spiritual practice of Bible Journaling. How have these symbols of the Passion made their way back into the popular Christian imaginary and creative expression of Bible readers today? The creative, devotional practice of Bible Journaling is gaining popularity in many countries, notably the US. Almost exclusively practiced by women, Bible Journaling involves making artistic interventions directly in the material artefact of the printed Bible, with different creative media. In considering the value of this practice for women’s spirituality, this article employs a social semiotic approach, multimodal analysis, to survey their visual representations and to analyse in detail one specific creative intervention, “I AM THE NAIL”, as a reception of a contemporary understanding of salvation through the suffering of Jesus Christ on the cross. Also considered are intertextual readings of the Hebrew Bible (Isaiah 53: 3–5) and the NT. The semiotic influence of popular cultural products such as The Passion of the Christ movie on the visual idiom embraced by the journalers forms part of this analysis.
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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.
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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.
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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.
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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek cross, the cross of Christ's crucifixion. Each type of cross carries different meanings and also symbolises different scriptures and figures. It also characterises concepts such as martyrdom, sacrifice, resistance and victory. The cross was used in icon, frescoes, mosaics and other works of art. For example, in Jesus iconography, the cross can be seen in Jesus' hand or on his throne. This article, which is structured with the method of literature review and document analysis, aims to illuminate the iconographic and symbolic meanings of the cross in Byzantine art. The cross is one of the sacred symbols of the Christian faith in Byzantine art.
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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?
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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.
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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.
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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.
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Lurie, Zinaida. "Christ as Teacher in classical European iconography." Hypothekai 8 (May 2024): 89–109. http://dx.doi.org/10.32880/2587-7127-2024-8-8-89-109.
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The article examines the visual embodiment of the theme of Christ's teaching in the European visual tradition. The author shows that the pedagogical metaphors of the Teacher and the Educator, vivid in the New Testament texts and the works of the first Christian writers, were reflected in the fine arts through certain iconographic formulas. An assumption is made about the possibility of a pedagogical interpretation of the symbolic image of the Good Shepherd (basing on Clement of Alexandria). Variations in the image of the Teacher in the works of the 4-5th centuries are also analyzed: these are compositions with Christ the Wonderworker and Christ the Philosopher, which had different iconographic prototypes. Regardless of the characteristics of the portrait interpretation of Christ, special attributes (rhetorical gesture, pallium, scroll or open codex) allow to identify Him as a Teacher. The view on Christ as the Teacher and righteousness and divine wisdom, incomparable with earthly knowledge, is a specific of the patristic tradition. The development of Christian art under the influence of liturgical theological the formation caused appearance of new subjects and interpretations in medieval art. Plots previously associated with the theme of Christ’s teaching receive a different view within the framework of typological exegesis. The author shows that the main “pedagogical” plot, which received consistent development in the art of the Middle Ages, is the image of the young Christ in the Jerusalem temple (Luke 2:41-51). The plot was popular due to the veneration of the image of the baby Jesus, general interest in His childhood, and also in connection with the cults of the Mother of God. In the iconography of the 15-17th centuries the polemical component of the plot is often emphasized, with the scene being interpreted as a variant of a dispute. In apocryphal texts dedicated to the childhood of Jesus, there are episodes of interaction between the Divine Youth and school teachers, who generally showed pedagogical carelessness towards the child and recognized His “disability to learn.” In illustrations of the plot children sympathize and support their “classmate” and even glorify Him as God. Finally, in the late Middle Ages, the story of the giving of the Lord's Prayer was spread, with the direct interaction of the Teacher and Preacher with their listeners articulated.
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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.”
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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
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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.
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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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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
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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.
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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.
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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.
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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.
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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.
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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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Мироненко, Д. Г. "What Old Testament Events Can the Iconography of Baptism in Ancient Monuments of Art Tell About?" Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 35–47. http://dx.doi.org/10.62625/2782-1889.2024.68.68.003.
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Статья посвящена малопонятному для большинства современных зрителей композиционному элементу древних изображений Крещения Господнего. Колонна, увенчанная крестом, у ног Иисуса Христа в водах реки Иордан, вероятно с позиции древних художников-богословов имеет совершенно конкретное указание на Ветхозаветную историю народа иудейского. The article is devoted to the compositional element of the ancient images of the Baptism of the Lord, which is incomprehensible to most modern viewers. The column crowned with a cross at the feet of Jesus Christ in the waters of the Jordan River, probably from the perspective of ancient theologian artists, has a very specific indication of the Old Testament history of the Jewish people.
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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.
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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.
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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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Golubeva, Irina. "From Сhrist Pantokrator to Salvator Mundi: the development of the iconography of the savior in Italian panel painting of the 13th — 15th centuries." St. Tikhons' University Review. Series V. Christian Art 51 (September 29, 2023): 54–67. http://dx.doi.org/10.15382/sturv202351.54-67.
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The iconography of Jesus Christ is one of the most relevant and, at the same time, the most difficult subjects to study. The formation of stable iconographic types of the Savior’s image went through a complicated path, going through various transformations, mainly related to the practical or liturgical function of icons. One of the most popular type, Pantokrator, has been realized in the panel painting of the Italian central region from the earliest times in the copies of the main Roman relic - Acheropita (Greek: Αχειροποίητα, the Image of Christ Not Made by Human Hands), which, as believed, had the same miraculous and protective power as an ancient icon. These copies, representing the image of the Savior on the throne (sometimes flanked by the parts of a triptych with the praying Virgin Mary and Saint John depicted) were largely produced for the churches of Rome and Lazio until the end of the 15th century. In the Renaissance, with its focus on individual religious practice, there is an increasing demand for small altars for home prayer, where artists implemented a new type of iconography, Veronica (Latin: Vera Icona, True Face), which (as well as Acheropita) was associated with the legend of the miraculous discovery of a relic and also endowed with a special protective power. Various interpretations of the illustrative images of the True Face in Italy and the artistic solutions found by the painters of Northern Europe finally lead to the formation and wide circulation in the Renaissance art of another iconographic variation - the Savior of the World (Latin: Salvator Mundi). This article discusses the pictorial and textual sources that determined the completion of the main iconographic types of Jesus Christ in Italian panel painting of the 13th – 15th centuries and with many of attracted samples studies the development of Savior’s iconography.
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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.
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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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Morrison, James L. "The Power of Participating Partnership with Profound Perception: A Practical Approach to Decision Making and Problem Solving." Religions 15, no. 1 (January 9, 2024): 80. http://dx.doi.org/10.3390/rel15010080.
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In a fractured, complex, and chaotic world, excellence in critical, caring, and creative thinking skills are crucial to effective Christian living. The author’s research, a qualitative inquiry and interdisciplinary literature review and analysis, suggests that one’s theological perspective and belief system concerning the gifts and power of the Holy Spirit may profoundly affect the ability of the individual and the body of Christ to rationally pursue Kingdom work, whether through evangelism, discipleship, or merely survival. Christians, regardless of theology, philosophy, worship styles, polity, geographical location, culture, or tradition, intending to positively affect their world, should consider adopting an active engagement, a participating partnership, with “Profound Perception”, the logical rational component of the mind of Christ which is normally identified with a compassionate state of mind for service. Proper preparation and exercise of human thinking skills combined with the engagement in a participating partnership with profound perception enables one to effectively deal with the realities of life in a time of extreme complexity, cognitive dissonance, excessive deceit, and distortions of reality. The research indicates it is possible for followers of Christ, engaged in an active partnership with the mind of Christ in the pursuit of solutions and resolutions for complex and wicked problems along with the creation of master pieces of art, literature, and music glorifying Christ Jesus, to be successful in their endeavors. The intent is not to defend or to attack any of the many theological perspectives concerning the charismata, but rather to explore the possibilities of integrating our mind and the charismata with the mind of Christ. An examination of one’s theology in light of how best to effectively and efficiently engage at the highest level possible with the mind of Christ in all that they do seems in the best interest of the church engaged in a global mission.
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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.
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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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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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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.
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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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Nyaribo, Omwocha. "COVID, Crisis, Conflict, and the Cross: Making Disciples during a Pandemic." Journal of Adventist Youth and Young Adult Ministries 1, no. 1 (2023): 59–62. http://dx.doi.org/10.32597/jayyam/vol1/iss1/11/.
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Intimate desires characterize one’s last moments with family, friends, or colleagues, often expressed verbally to the hearers. John 17 is one such moment. Jesus passionately, through prayers, shared the desire that His followers be united, for unity in Christ is the essence of soul-winning— the world believing in Jesus (Jn 17:21,23). The disciples of Jesus also contended among themselves concerning greatness. In the history of the Christian Church, unity among the brethren has been elusive. Within the Seventh-day Adventist church, we have witnessed strife among the brethren because of divergent views throughout our history. Such strife is not an emerging issue. One recent conflict was on the church’s position regarding COVID-19 vaccines. This issue has caused some members to leave the church, while others have transferred to churches that accommodate their opinions. We have forgotten the impact of a conflicted church, especially on the spiritual growth among the youth and young adults. This paper aims to discuss the possibility of fostering unity among divergent views and personalities by developing the art of disagreeing while still respecting and being compassionate to one another. To achieve this, the presentation will first appeal to the Bible using sound biblical hermeneutics and, secondly, review the experiences of the Adventist pioneers in overcoming similar challenges.
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Tabor, Dariusz. "Gesture as the Expresion of the Pascal Mystery in the Central European Medieval Art." Folia Historica Cracoviensia 14 (February 23, 2024): 119–34. http://dx.doi.org/10.15633/fhc.1457.
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The Paschal Mystery is the central reality of the Christianity. This is a series of historical events, presented in the canonical Gospels, in which Jesus from Nazaret was submit to the suffering, death, but was revived and bas ascend 10 the glory. These events was Ml of meanings and significations. This significations of paschal event has been meditated and analyzed in the Christian text, - in Gospels, in Paul’s Letters, but in the sermon of Fathers of the Church. Meliton of Sardes, Orygenes, Pseudo-Hypolite, and others are known as the interpreters of paschal events. The liturgical texts - Exultet and Victimae Paschali explain the profound sense of the Death and the resurrection of Christ All these works inspired the iconography. This presentation has to review the some works of art in Central Europeand interpretations their theological sense. The gestures will be the key to discovery of meaning.
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CIOFU, Gabriel V. "THE ANCIENT OF DAYS – ICONIC CIRCUMSCRIPTION OF THE FATHER OR THE SON?" Icoana Credintei 10, no. 19 (January 24, 2024): 58–68. http://dx.doi.org/10.26520/icoana.2024.19.10.58-68.
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Who is the Ancient of Days? Most of the Eastern Church Fathers who comment on the passage in Daniel (7.9-14) interpreted (in the light of Revelation 1.10-18) the elderly figure as a prophetic revelation of the Son before His physical incarnation. In Orthodox Christian hymns and iconography, the Ancient of Days is sometimes identified with God the Father, but most properly, in accordance with Orthodox theology, He is identified with God the Son – Jesus Christ. Under Romeʼs scholastic influence, it has historically been used to theologically justify images of God the Father, alone or in various forms of what is called the New Testament Trinity. These images and their theological justification have become so common in the Orthodox nowadays world, (almost) nobody questions them. As such, Eastern Christian art will sometimes portray Jesus Christ as an old man – the Ancient of Days, to show symbolically that He existed from all eternity (together with the Father and the Holy Spirit), and sometimes as a young man, or wise baby, to portray Him as He was incarnate. This study represents a research on the history of the reflexivity of biblical-dogmatic and liturgical-hymnographic interpretations in the orthodox iconography of the Ancient of Days, an explanatory journey through the history of the iconicity of the divine name of the Ancient of Days. In conclusion, even if the iconography is still seen as an ancillae theologiae, it anagogically reproduces through colors what dogmatics and hymnology strengthen through writing and hearing - the doctrine of the Orthodox Church
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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Palmieri, David. ""The Sea We Must Wade": Exploring the Need for Catholic Ministry to Families with LGBTQ+ Children." International Journal of Evangelization and Catechetics 4, no. 1 (2023): 63–84. http://dx.doi.org/10.1353/jec.2023.a912021.
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Abstract: This paper explores the need for more effective ministry to Catholic families with LGBTQ+ children. The research presents an extensive list of internal and external challenges faced by both LGBTQ+ adolescents and their parents. One of the outward obstacles is an ongoing disagreement within the Church over the use of words like "same-sex attraction" and "disorder," so this paper proposes considerations to transcend the conflict. Finally, this paper argues that we must embrace the methodology of Jesus Christ (encounter, accompany, build community, send forth) to promote the "art of storytelling" as a compelling means of pastoral care. In this era of the New Evangelization, which prioritizes the formation of missionary disciples, we have an obligation to work in solidarity with LGBTQ+ adolescents and their families to embody what is right and just in a Church that goes forth.
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Rodriguez, Milagros Elena. "PRIVILEGE OF KNOWING GOD: RE-LINKS IN TIMES OF CRISIS." Isagoge - Journal of Humanities and Social Sciences 2, no. 8 (August 28, 2022): 90–110. http://dx.doi.org/10.59079/isagoge.v2i8.135.
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Investigating from God, for God and about God is an immense commitment, in which I go in the first person, with my sentiments and a transmethodical investigation with the transmethod of comprehensive, ecosophical and diatopic hermeneutics; going through the analytical, empirical and purposeful moments. It is a responsibility, as long as the insult to the name of God, the separation of the human being, the abuse in colonial solsyadoras religions has compromised the complex understanding of the human being: nature-body-mind-soul-spirit-God. Thus, we return with ecosophia, the wisdom in the art of inhabiting the planet, resorting to the ancient philosophy that dictates that reason is not only located in the mind; but in the soul and the spirit to analyze, in the needs of the planet, in the moral crisis, in the greatest urgency of inhumanity, the privilege of knowing God with re-ligations in times of crisis, this is the complex objective of the inquiry. Diatopia tends to unite topoi separated for convenience in the human being, such as: God-human being, nature-Human Being. In propositional moments, we help so that beyond man's arrogance he thinks of his transcendence. God opens doors for us, we cannot miss the opportunity to enter. Let's go ahead with Him. Praised be his name of love Jesus Christ always in my life, parting the Red Sea to enter through your wide door the door of God. The crisis of civilization will not improve significantly; we must think about changes that lead us to the salvation of our soul and spirit. If you acknowledge Jesus Christ our Lord, dying for us; you can know the Holy Spirit; that in the three divine persons they are inseparable. Science must return to the union with philosophy and this with theology, with cogitative re-linkages of a high level, decolonial and complex.
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Mascarenhas, Arun, and Suvidha P. . "Catholic Art: Mangaluru, a Case Study (1878-2023)." International Journal of Arts Architecture & Design 2, no. 2 (July 26, 2024): 14–48. http://dx.doi.org/10.62030/2024julypaper2.
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‘Catholic Art’ is art produced for catholic patrons, which includes iconographic works in visual arts, sculptures, architecture, and decorative and applied arts. Jesus Christ, his disciples, followers, saints, and biblical narratives have been the subject matter of Catholic art. There is an ecumenical relationship between Christian theology and Catholic Art. However, not all Christians are Catholics, but all Catholics are Christians. The Mangaluru case study centers on the prominent Italian Artist Priest, Fra. Antonio Moscheni SJ (1854-1905). He was entrusted to embellish the newly built cathedral with frescos on Biblical themes. The resemblance of these frescos to the works of the Sistine Chapel of Rome and its unique blend with the native southern mural traditions is a unique and fascinating amalgamation of East and Western art techniques. Due to his work’s popularity, Moscheni was commissioned to complete several projects across the churches of western coastal India between 1889 and 1905. He began working in Mangaluru and later Bantwal, the region known as Canara. He did a few projects in Konkan, a northern coastal city of Goa, and Mumbai. In the end, the southern coastal town, Kochi, also referred to as the Malabar, where breathed his last due to illness. The case study focuses on detailed accounts of his disciples who assisted him during his commissions and were later established as individual practitioners catering to the community’s needs. The study locates Catholic art practice in India and its legacies in historical and sociocultural contexts and analyzes and reflects on their milieu.
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Fozi, Shirin. "Christ among Us: Sculptures of Jesus across the History of Art by Joseph Antenucci Becherer and Henry Martin Luttikhuizen (review)." Catholic Historical Review 110, no. 1 (January 2024): 120–21. http://dx.doi.org/10.1353/cat.2024.a921700.
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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.
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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.
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Odrekhivskyi, Roman W. "Byzantine traditions of plastic arts design to preserve the national identity of the Lemko-Rusins in Galicia (the second half of the 19th -the first third of the 20th century)." Rusin, no. 67 (2022): 325–41. http://dx.doi.org/10.17223/18572685/67/18.
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Northern Lemkovyna has been developing traditional plastic arts in the Byzantine style for a very long time. This type of art is one of the talismans that have preserved the national identity of the Lemko-Rusins through the centuries. This paper investigates the specificity of the Byzantine style in the Lemko stonemasonry, which is primarily the drawing of the iconography of memorial forms: the position of the hands and feet of the crucified Jesus Christ as in the Christian tradition of the Eastern rite, a three-armed cross, Cyrillic inscriptions, and so on. This clearly emphasizes the nationality of the memorials surrounded by Polish works of the Roman Catholic rite, with Latin, not Rusin inscriptions, more elongated Latin cross, iconography of Jesus according to the Roman Catholic tradition, etc. Despite centuries of repression, the Lemko Rusins have managed to preserve their national and religious identity in the vicinity of non-ethnic elements by observing Byzantine traditions in the plastic arts and religious cult. The flourishing development of plastic arts, in particular, artistic stonemasonry, in the second half of the 19th - first third of the 20th century can be considered a component of the national Rusin Renaissance, which has not yet been properly investigated by historians. In further research, other cases of Lemko-Rusin plastic arts can be investigated, eg. icon painting, embroidery, and so on.
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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.
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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.