Relevant bibliographies by topics / Liturgical art

Academic literature on the topic 'Liturgical art'

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Published: 4 June 2021
Last updated: 19 February 2023

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Journal articles on the topic "Liturgical art"

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Thompson, Christine J. "Controversies in Liturgical Art." Liturgy 5, no. 4 (January 1986): 86–91. http://dx.doi.org/10.1080/04580638609408094.

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Jensen, Robin M. "Book Review: Medieval Liturgical Art." Expository Times 122, no. 2 (October 21, 2010): 98–99. http://dx.doi.org/10.1177/00145246101220020702.

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Maura, Behrenfeld F. S. E. "Liturgical Experiences Mediated through Abstract Art." Studia Liturgica 47, no. 1 (March 2017): 113–18. http://dx.doi.org/10.1177/003932071704700108.

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De Jong, Ursula, and Flavia Marcello. "Stewardship and renewal of catholic places of worship in Australia." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 156–71. http://dx.doi.org/10.17979/aarc.2019.6.0.6236.

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The National Liturgical Architecture and Art Council (NLAAC) is an advisory body to the Bishops’ Commission for Liturgy of the Australian Catholic Bishops Conference, mandated to provide advice in the areas of liturgical architecture, art and heritage. The Council has prepared guidelines for use throughout the Catholic Church in Australia. The most recent of these documents, Fit for Sacred Use: Stewardship and Renewal of Places of Worship (2018) focusses on existing church buildings with particular reference to cultural heritage, and is the subject of this paper. Vatican II sought the full and active liturgical participation of all the people and so existing churches were reordered to foster inclusion. It is timely to consider questions around what constitutes our heritage and how it is valued. Fit for Sacred Use sets out the liturgical and heritage principles which are fundamental to conserving, renovating and reordering a church building. Its holistic approach considers how we renew our churches while honouring our heritage.
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Marinis, Vasileios. "A Reconsideration of the Communion of the Apostles in Byzantine Art." Studies in Iconography 42, no. 1 (2021): 1–20. http://dx.doi.org/10.32773/iqww3944.

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This essay concerns itself with the meaning and function of the Communion of the Apostles in Byzantine monumental painting. Scholars have often interpreted the scene as a liturgical reimagining of the Last Supper, aimed at creating a mimetic relationship between ritual and image, or between the liturgical act and its heavenly prototype. In contrast, based on the history of the scene in illuminated manuscripts, the accompanying inscriptions, and commentaries on the liturgy, I argue that the Communion of the Apostles is an illustration of the historical institution of the Eucharist and has little to do with the everyday liturgical praxis. This continues to be the case even when, in the beginning of the fourteenth century, Christ appears in such paintings wearing patriarchal vestments as the Great Archpriest. I maintain that this new element is rather a manifestation and an advertisement of the enhanced political and religious status of the ecumenical patriarch in the Late Byzantine period.
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Reeve, Matthew. "Art, Prophecy, and Drama in the Choir of Salisbury Cathedral." Religion and the Arts 10, no. 2 (2006): 161–90. http://dx.doi.org/10.1163/156852906777977752.

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AbstractThe former painted cycle over the vaults of Salisbury Cathedral represents one of the great losses of thirteenth-century English art. This paper focuses on the imagery over the three-bay choir, which features twentyfour Old Testament kings and prophets each holding scrolls with texts prefiguring the Coming of Christ. The content of the cycle derives from a sermon, well known in the Middle Ages, by Pseudo-Augustine: Contra Judaeos, Paganos et Arianos. Yet the most immediate sources lie in twelfth and thirteenth-century extrapolations of the Pseudo-Augustinian sermon in liturgical drama, the so-called Ordo Prophetarum, or prophet plays. This observation leads to a discussion of the relationship of imagery to its liturgical setting. It is argued that the images on the choir vaults were also to be understood allegorically as types of the cathedral canons, who originally sat in the choir stalls below. A reading of the choir as a place of prophecy is located within traditions of liturgical commentary, which allegorize processions through churches as processions through Christian history. This leads to a discussion of the allegorization of the church interior in the Gothic period.
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Venable, Hannah Lyn. "The Weight of Bodily Presence in Art and Liturgy." Religions 12, no. 3 (March 3, 2021): 164. http://dx.doi.org/10.3390/rel12030164.

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This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present.
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Golovushkin, Dmitrii Aleksandrovich, and Irina Ravkatovna Gumarova. "Expanding or limiting the boundaries of the “allowable”: to the problem of outlining the concept of “religious art”." Человек и культура, no. 5 (May 2020): 76–88. http://dx.doi.org/10.25136/2409-8744.2020.5.31638.

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Religious art is one of the most complex and controversial phenomena in the history of art. The attempts to conceptualize this phenomenon are relatively recent, and are carried out mostly in the context of the existence of confessional, ecclesiastical/nonecclesiastical, cult/atheistic art. Therefore, religious art within the Russian humanities traditionally receives ambivalent interpretation. In a narrow sense, religious art implies a combination of artworks with dogmatic, doctrinal, and liturgical meaning. In a broad sense, religious art represents a set artworks that reveal religious themes from ideological and figurative perspectives, reflect religious worldview, faith and experience, but do not carry sacred statues, nor intended for reverence, worship, liturgical practices.  The author concludes that neither definition describes the distinctness and novelty of the religious art. The appropriate interpretation describes religious art as d both, ecclesiastical/non-ecclesiastical and cult / atheistic art. This leads to a terminological confusion, and doubts the need for introducing the concept of “religious art” and the phenomenon itself. The key towards understanding this phenomenon and a new definition of the concept of “religious art” can be their context – the European and Russian secularization. It is not coincidental that the first was addressed, and the second was deliberately formulated at the turn of the XIX – XX centuries. Religious art mainstreams during the historical periods when the boundaries of secularization/religion become flexible, initiating struggle for them.
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König, Götz. "Bayān Yasn: State of the Art." Iran and the Caucasus 21, no. 1 (March 15, 2017): 13–38. http://dx.doi.org/10.1163/1573384x-90000003.

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The Nask Bayān, once part of the so called Greater (Sasanian) Avesta, but now lost, became a central issue of discussion in the Avestan Studies over the last 15 years. These discussions tried to clarify its relation to the collection of the Yašts (and to the Xorde Avesta) and to reconstruct types of a liturgical celebration of this Bayān Nask or of parts of it. The following article gives an overview on the recent research. It gives also some new suggestions concerning the structure of the collection of the Yašts.
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Kisby, Fiona. "A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII." Early Music History 16 (October 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.

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Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.
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Dissertations / Theses on the topic "Liturgical art"

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Close, Jennifer M., and n/a. "A Feminist Understanding of Liturgical Art." Griffith University. School of Theology, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060301.141353.

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Among church folk in Australia today, there are concerns that soon ? with the surge of secularism in our society ? there will be no Christian tradition left for their children to inherit. At the same time, there is also a rising desire for spiritual renewal among Australians. It seems that the church and society are worlds apart. It is my contention that feminist liturgical artists are in a unique position to bridge the gap between the church and the world, and to promote the spiritual renewal of both. My task in this thesis is to devise a feminist model of liturgical art practice which is both aesthetic and prophetic. In this model, liturgical art is capable both of inspiring people to contemplate divine meanings and of calling the people to discipleship in the service of God in the world. It is also able both to encourage hope and challenge injustices. A balanced approach to the aesthetic and prophetic is suggested in Elisabeth Schüssler Fiorenza's (1992) four-step model of feminist research, which shapes my project. The principles which form the framework of my feminist understanding of liturgical art are widely applicable, and do not just apply to women. Even so, I maintain that women are more gifted than men at understanding the world in terms of relations rather than hierarchies. In the Catholic church today, we need this sense of relation more than ever. The church needs to be in creative relation with contemporary culture, or we are going to lose the young people from our ranks, and consequently our future. Within the church, the hierarchy needs to be in creative relation with the laity, and this requires a more collaborative approach to leadership ? including ministry. Within the liturgical environment, the church needs images which are able to draw heaven and earth into creative relation. These inclusive and holistic ideas are basic to a feminist practice of liturgical art as I describe it in this project. To demonstrate what such a practice might look like, I use examples from my own liturgical artwork. I aim to show how theory/theology and practice are inextricably interrelated in a feminist practice of liturgical art, and that practice precedes theory/theology, and that theory/theology leads to renewed practice. This has certainly been my experience while writing this thesis. The model of feminist liturgical art practice, which I formulate in this thesis, is postmodern. The largest theoretical challenge for me in this project was to come to terms with beauty theory, a conceptual framework which underpinned modernist art theory. By training and by inclination, I am disinclined to favour an art theory in which the highest value is beauty. Beauty theory was significantly deconstructed in the artworld in the 20th century and the new understandings of beauty arising today show the signs of paradigm shift. In the case of beauty theology, however, nothing comparable has caused theologians to significantly refigure their core value. Coming to terms with beauty theology was my largest theological challenge. My solution in both cases was to enlarge the category of beauty by adding ugliness. I call this category 'beautiful ugliness' (Boyd 1960, 200). However, 'beautiful ugliness' is not the focus of my aesthetic approach. I use 'life' as the core value. Into the mix of feminist postmodern art theory/theology, I add some elements of classical American pragmatism. In a pragmatic frame, ideas need to be tested out in the realities of everyday life. In line with my chosen core value, I use the terms life-relevant and life-enhancing (Miles 1985, 6) as criteria for testing the value of liturgical art. This project represents my attempt to draw a picture of what a feminist, postmodern, pragmatic, aesthetic/prophetic practice of liturgical art might look like in 21st century Australia. My hope is that there are other women and men artists, like myself, who work with 'passionate purpose' (Alexander 1933, 53) - driven by their faith in God; by their fidelity to the Christian tradition; by a desire to imaginatively explore, express and stretch the boundaries of that tradition; and by a powerful sense of place-connection and of community-belonging ? who will find this model useful and perhaps inspiring.
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Lee, Keonsoo. "Revisiting the use of art, imagery and symbolism in the Presbyterian Liturgical tradition in Korea : a practical-theological research." Thesis, Stellenbosch : Stellenbosch University, 2013, 2013. http://hdl.handle.net/10019.1/85728.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: Aesthetics has a theological calling: The beauty (or ugliness) in the world and art incites us to long for the divine eternal beauty. The earthly beauty is revelatory and analogous to the beauty of God. Imagination, i.e. making an image, whether mental or physical, is an inherent faculty of human beings who were created in the image of God. It is an insuppressible human activity. Besides, the search for meaning, which is a universal human quest for the purpose in life, is a concern common in both religion and art. Aesthetics (art and beauty) thereby should be a theological locus, a graceful partner of theological dialogue. But how much are aesthetic dimensions incorporated in the Korean Presbyterian theological/liturgical context? Visual art, imagery and symbolism are considered marginal or even dangerous in the Korean Presbyterian churches while preaching is given a dominant position in their worship services. As a result, they are losing sight of the essential implications that aesthetic, embodied experiences of art, imagery and symbolism have for liturgical richness. Art, imagery and symbolism are fundamental components in Christian life and worship as demonstrated with numerous evidences throughout the Christian history. They are never discordant with the tradition of the Word, but rather, have critical importance to theology for five reasons – the human as embodied being, a manifestation of imago Dei, the integrative characteristic of our thinking and perceiving, the Bible as book of images, and the contemporary culture of images. Against this backdrop, aesthetic expressions of art, imagery and symbolism are claimed to have five features significant to Christian worship: The revelatory power of the beauty in nature or works of art displays something of God; aesthetic expressions of art, imagery and symbolism speak to the human totality as an intelligent-affective-sensate-corporeal being; people necessarily become participants in the performative nature of art and its claim of truth; the beauty, truth and goodness manifested in works of art may be a reminder of our responsibility to work for the transformation of the world; an artwork can serve an eloquent mode of hoping for the present absent reality of the Kingdom of God. In terms of these qualities, an implication that aesthetic experiences in worship have the power to reframe, taking us to the encounter with the divine beauty, goodness and truth, is drawn, and a fusion of the verbal and non-verbal is claimed conclusively.
AFRIKAANSE OPSOMMING: Estetika het 'n teologiese roeping: Die skoonheid (of lelikheid) in die wêreld en kuns moedig ons aan om na die goddelike ewige skoonheid te verlang. Die aardse skoonheid is openbarend en ooreenkomstig tot die skoonheid van God. Verbeelding, dit wil sê die maak van 'n beeld, óf dit geestelik of fisies is, is 'n inherente fakulteit van die mens wat in die beeld van God geskape is. Dit is 'n menslike aktiwiteit wat nie onderdruk kan word nie. Buitendien, die soeke na betekenis, wat 'n universele menslike soektog na die doel van die lewe is, is 'n belangstelling wat algemeen in godsdiens en kuns voorkom. Estetika (kuns en skoonheid) moet daarmee 'n teologiese lokus wees, 'n bekoorlike vennoot in die teologiese dialoog. Hoeveel van estetiese dimensies word egter in die Koreaanse Presbiteriaanse teologiese / liturgiese konteks opgeneem? Visuele kuns, beelde en simboliek word as marginaal of selfs gevaarlik in die Koreaanse Presbiteriaanse kerke beskou, terwyl prediking 'n dominante posisie in hul eredienste beklee. Die gevolg is dat die belangrikste implikasies wat die estetiese, beliggaamde ervarings wat kuns, beelde en simboliek vir liturgiese rykdom inhou, uit die oog verloor word. Kuns, beelde en simboliek is fundamentele komponente van die Christelike lewe en aanbidding soos verskeie getuienis in die Christelike geskiedenis demonstreer. Hulle is nooit teenstrydig met die tradisie van die Woord nie, maar dit is eerder van kardinale belang vir die teologie vir vyf redes – die mens as beliggaamde wese; 'n manifestasie van die Imago Dei; die geïntegreerde kenmerk van ons denke en waarneming; die Bybel as boek van beelde, en die huidige kontemporêre kultuur van beelde. Die estetiese uitdrukking van kuns, beelde en simboliek besit op hierdie gronde vyf eienskappe van belang vir die Christelike aanbidding naamlik: Die openbarende krag van skoonheid in die natuur of kunswerke wat iets van God vertoon; die estetiese uitdrukking van kuns, beelde en simboliek praat tot die menslike totaliteit as 'n intelligente-affektiewe-sintuiglik-waarnemende-liggaamlike wese; mense word noodsaaklike deelnemers in die performatiewe aard van kuns en sy eis van die waarheid; die skoonheid, waarheid en goedheid wat in kunswerke te sien is, kan vir ons tot 'n herinnering wees van ons verantwoordelikheid om vir die transformasie van die wêreld te werk; 'n kunswerk kan as 'n welsprekende beeld van hoop vir die hede dien in die afwesige werklikheid van die Koninkryk van God. Die implikasie van die mag om verandering te weeg te bring wat estetiese ervarings in aanbidding mag hê, word volgens hierdie eienskappe veronderstel. Dit neem ons na ʼn ontmoeting met die goddelike skoonheid, goedheid en waarheid en die samesmelting van die verbale en nieverbale word gevolglik opgeëis.
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Essex, Sandra Mikel. "Metal concepts : the calligraphic image." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897526.

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This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry.
Department of Art
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Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.

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Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.
Department of Art
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Holmes, Andrew David. "To see or not to see : communication, cooperation and co-creation in the use of liturgical media art in Protestant worship." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/9418/.

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This research examines why churches are using Liturgical Media Art (LMA), specifically the use of projected or displayed images and texts, in their worship. Using a long term ethnographic study of four congregations, two in the UK and two in the USA, the research reveals a number of important issues for those who lead and those who prepare the materials used in the worship. The results show that LMA is providing added educational, missional and liturgical value through increased participation of the congregation in the worship of the churches researched. The research also identifies that those who lead worship, those who are the congregants in the worship and those who prepare the materials used in worship all have a very different perspective on the use of LMA. In seeking to understand the different approaches this research posits the role of self-esteem as a way of interpreting the three viewpoints. In looking at one possible measure of the effectiveness of LMA, this research examines the role of ‘surprise’ in relation to memory as well as how memory traits may be encoded so as to provide a long term retrieval of the images and associated service content. Using the work of McLuhan as a lens to examine the way churches employ LMA, this research focuses on the learning that can be found when there are problems with the use of LMA and its presence in the worship becomes obvious. The research posits a number of outcomes for ministerial formation and ministry that would aid the use of LMA in worship today. The research draws on the work of many writers from various theological, sociological, philosophical disciplines to reflect theologically on the use of LMA in our worship today. It also briefly considers the new ‘environmental projection’ being adopted in some churches. This research confirms much of the anecdotal evidence offered for the use of LMA and adds to the current literature about the use of LMA
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Benchabo-Benlolo, Bida-Guila. "Inventaire des synagogues et objets de culte de Casablanca : les vestiges d'un patrimoine en sursis." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF017.

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Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culte
This thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects
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Nichols, Bridget. "Liturgical hermeneutics : interpreting liturgical rites in performance /." Frankfurt an Main ; New York ; Paris [etc.] : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb37196131c.

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Nelson, Kathleen E. "Medieval liturgical music of Zamora /." Ottawa : The Institute of Mediaeval music, 1996. http://catalogue.bnf.fr/ark:/12148/cb369600647.

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NOBILI, ELENA. "Alfredo Ildefonso Schuster a Roma (1880 - 1929)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1070.

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Alfredo Ildefonso Schuster (1880-1954), abate di San Paolo fuori le Mura e, successivamente, arcivescovo di Milano dal 1929 al 1954, ricoprì, durante il periodo romano, importanti incarichi sia all’interno dell’Ordine benedettino che della curia romana per volontà di Pio X, Benedetto XV e Pio XI. Egli diede un contributo decisivo in svariati ambiti: insegnò presso la Scuola di Musica sacra, fu consultore della Congregazione dei Riti, preside del Pontificio Istituto Orientale e presidente della Pontificia Commissione di arte sacra. Personalità particolarmente sensibile, fu in contatto con il mondo benedettino europeo, sostenne il movimento liturgico e si mostrò aperto verso la Chiesa ortodossa e gli ebrei. Dal punto di vista politico, infine, Schuster affermò con chiarezza la necessità che lo Stato riconoscesse l’importante azione sociale della Chiesa, denunciando le ingerenze e i soprusi commessi sia dal governo liberale che da quello fascista.
Alfredo Ildefonso Schuster (1880-1954) was a Benedictine monk at the Basilica of Saint-Paul-Outside-the-Walls in Rome and Archbishop of Milan from 1929 to 1954. During his stay in Rome he held high offices for both the Benedictine order and the Roman Curia thanks to Popes Pius X, Benedict XV and Pius XI. He provided decisive contributions to various fields: teacher at the Institute of Sacred Music, Consultor to the Sacred Congregation of Rites, President of the Pontifical Oriental Institute and President of the Commission for Sacred Art. Man with a highly sensitive personality, Cardinal Schuster got in touch with the European Benedictine community, promoted the Liturgical Movement and showed his openness to the Orthodox Church and the Jewish people. In the political field Schuster clearly stated the necessity of the State to admit the important social action carried on by the Church, while blaming interferences and abuses of both the Liberal and Fascist Government.
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Johnson, Brian Todd. "Sacred conversations viewing liturgy through art /." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Books on the topic "Liturgical art"

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Art, architecture, and liturgical reform: The Liturgical Arts Society (1928-1972). New York: Pueblo Publishing, 1990.

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Stuckenschneider, Placid. Faith images: Clip art for the liturgical year. Kansas City, MO: Sheed & Ward, 1993.

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Edwards, Peter. Times & seasons: Clip art for the liturgical year. Great Wakering: McCrimmons, 1993.

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The medieval development of liturgical symbolism. Bramcote, Nottingham: Grove Books, 1986.

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Cronin, Daniel P. The ministry of the liturgical artist: An analysis of the theological, liturgical and artistic principles that form the artist's service to the liturgical celebration in the church today. Romae: [s.n.], 1993.

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Cronin, Daniel P. The ministry of the liturgical artist: An analysis of the theological, liturgical and artistic principles that form the artist's service to the liturgical celebration in the church today. Romae: [s.n.], 1993.

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Using art in Sunday worship. San Jose, Calif: Resource Publications, 1990.

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Den talande tystnaden: Om det liturgiska symbolspråket. Stockholm: Verbum, 1987.

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Mathews, Thomas F. Art and architecture in Byzantium and Armenia: Liturgical and exegetical approaches. Aldershot, Great Britain: Variorum, 1995.

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Guggenheim-Weil, Susi. Traditionelles neu gestalten: Moderne jüdische Zeremonialkunst = New forms for traditional art : modern Jewish ceremonial art. Berlin: D. Riemer, 1989.

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Book chapters on the topic "Liturgical art"

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Christensen, Karin Hyldal. "The functional aesthetics of liturgical art." In The Making of the New Martyrs of Russia, 81–86. New York : Routledge, 2017. | Series: Routledge religion, society, and government in Eastern Europe and the Former Soviet States ; 5: Routledge, 2017. http://dx.doi.org/10.4324/9781315226514-5.

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Sheridan, John-Paul. "Religious Art and Liturgical Catechesis of Children." In Global Perspectives on Catholic Religious Education in Schools, 323–33. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6127-2_26.

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Ringbom, Åsa. "Reflections on Liturgical Drama in Medieval Scandinavian Art." In Textes et Etudes du Moyen Âge, 737–57. Turnhout: Brepols Publishers, 1998. http://dx.doi.org/10.1484/m.tema-eb.5.102814.

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Dillistone, F. W. "Liturgical Forms in Word and Act." In Language and the Worship of the Church, 3–25. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20477-9_2.

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Schier, Volker. "Memorials Sung and Unsung: Liturgical Remembrance and Its History." In Museums at the Crossroads, 125–35. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.mac-eb.3.1816.

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Mirelman, Sam. "Performative Aspects of Litanies in Sumerian Liturgical Prayers, According to Selected Late Manuscripts." In The Litany in Arts and Cultures, 71–87. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.stt-eb.5.119207.

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Vukašinović, Vladimir. "Конфесионално-литургичке полемике у теолошким списима Зелићевих савременика." In Biblioteca di Studi Slavistici, 117–25. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-979-9.10.

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The works of Serbian theologians of the second half of the 18th century are characterized by a confessional-polemic style, as their goal was to set the sacred doctrine and the organization of liturgical life. This polemic approach was also due to the unfortunate position of the Orthodox minorities within the Austrian Monarchy, exposed as they were to the pressure of the Catholic Church. Analysing the works of the leading Serbian theologians of the time (D. Novaković, J. Rajić, Z. Orfelin), the author explains how Serbian polemical theology was created and eventually found its own formal style.
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Marti, Susan. "Micrographic Prayers for Monks and Colorful Images for Nuns: Evidence for Gender-Specific Decoration in Liturgical Manuscripts from Late-Medieval Germany." In Les femmes, la culture et les arts en Europe entre Moyen Âge et Renaissance, 177–95. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.tcc-eb.5.107665.

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Talmon-Heller, Daniella. "The State of the Art." In Sacred Place and Sacred Time in the Medieval Islamic Middle East, 17–24. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460965.003.0003.

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This chapter surveys scholarship about pilgrimage, Islamic shrines, liturgical calendars and the Islamic annual cycle, and some of the typologies suggested by scholars of Islam. It claims that modern researchers did not devote much attention to Muslim non-canonical devotions, including those of the month of Rajab.
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Gschwandtner, Christina M. "Introduction." In Welcoming Finitude, 1–30. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286430.003.0001.

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As this book tries to address multiple audiences who may well not be familiar with the other disciplines that are engaged here, the Introduction tries to provide some background for phenomenology as a methodology and the ways in which this philosophical examination touches on liturgical theology. (Brief introductions are also provided in each chapter for what liturgical theology and phenomenology have to say to the respective topic under consideration for those readers not familiar with the material.) This may also be a good place to make clear that I claim no expertise in all of the multiple disciplines and bodies of research that are on some level relevant to the topic of liturgy: liturgics (as the historical study of liturgy), liturgical theology, ritual studies, patristics, Orthodox theology more broadly, art history and the study of religious architecture, iconography, and others. I have in all cases attempted to find the most up-to-date research and to inform myself as thoroughly as possible, but obviously could not possibly master that many disciplines and may well have missed some important recent information or disregarded crucial methodological parameters. I beg the indulgence of the experts in the various fields for this philosophical engagement with a variety of insights from their respective disciplines....
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Conference papers on the topic "Liturgical art"

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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.
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Женюх, П. "Современные полевые исследования литургического языка словаков византийско-славянской традиции." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.12.

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The paper focuses on the issue of the existence of the Slovak variant of the Church Slavonic language. The cultural-historical and linguistic specifics of the liturgical language forms are pointed out. The author obtained the research findings on the liturgical Church Slavonic of Slovak believers of the Byzantine rite during several years of field research.
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Kudzoeva, Angela, and Soslan Chekhov. "TO THE PROBLEM OF TRANSLATION OF LITERAL TEXTS TO OSSETIAN LANGUAGE." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.19.

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The article raises a range of issues related to the translation of liturgical texts into the Ossetian language. These are the causes of the translation tradition and the stages of its development, the problem of the language of worship, the issues associated with the difficulties of an adequate translation of the basic terms, as well as the problem of the formation of terms.
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Braguta, Ecaterina. "Lexico-Grammatical Peculiarities of the Orthodox Hymnographic Text." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.12.

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Analyzing the achievements of Romanian philologists in the study of the religious text, we find an impressive number of works that reflect the features of the biblical text, given that it is the founding text in the Orthodox cult, of the liturgical texts, and the hymnographic text has a weak representation in the current research. Thus, in this article, we propose to specify the lexicalgrammatical peculiarities of the Orthodox hymnographic text, summarizing ourselves to a single type of text – the akathist, particularities which, for the most part, are common to other types of religious text, but also present features specific in relation to them.
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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.
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McCartney, Patrick. "Sustainably–Speaking Yoga: Comparing Sanskrit in the 2001 and 2011 Indian Censuses." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-5.

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Sanskrit is considered by many devout Hindus and global consumers of yoga alike to be an inspirational, divine, ‘language of the gods’. For 2000 years, at least, this middle Indo-Aryan language has endured in a post-vernacular state, due, principally, to its symbolic capital as a liturgical language. This presentation focuses on my almost decade-long research into the theo-political implications of reviving Sanskrit, and includes an explication of data derived from fieldwork in ‘Sanskrit-speaking’ communities in India, as well as analyses of the language sections of the 2011 census; these were only released in July 2018. While the census data is unreliable, for many reasons, but due mainly to the fact that the results are self reported, the towns, villages, and districts most enamored by Sanskrit will be shown. The hegemony of the Brahminical orthodoxy quite often obfuscates the structural inequalities inherent in the hierarchical varṇa-jātī system of Hinduism. While the Indian constitution provides the opportunity for groups to speak, read/write, and to teach the language of their choice, even though Sanskrit is afforded status as a scheduled (i.e. recognised language that is offered various state-sponsored benefits) language, the imposition of Sanskrit learning on groups historically excluded from access to the Sanskrit episteme urges us to consider how the issue of linguistic human rights and glottophagy impact on less prestigious and unscheduled languages within India’s complex linguistic ecological area where the state imposes Sanskrit learning. The politics of representation are complicated by the intimate relationship between consumers of global yoga and Hindu supremacy. Global yogis become ensconced in a quite often ahistorical, Sanskrit-inspired thought-world. Through appeals to purity, tradition, affect, and authority, the unique way in which the Indian state reconfigures the logic of neoliberalism is to promote cultural ideals, like Sanskrit and yoga, as two pillars that can possibly create a better world via a moral and cultural renaissance. However, at the core of this political theology is the necessity to speak a ‘pure’ form of Sanskrit. Yet, the Sanskrit spoken today, even with its high and low registers, is, ultimately, various forms of hybrids influenced by the substratum first languages of the speakers. This leads us to appreciate that the socio-political components of reviving Sanskrit are certainly much more complicated than simply getting people to speak, for instance, a Sanskritised register of Hindi.
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