Journal articles: '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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Bocken, Inigo. "Doxological (Im)Purity? Nicholas of Cusa’s ‘Art of Praising’ and Liturgical Thinking in 21st Century." Religions 13, no. 8 (July 26, 2022): 677. http://dx.doi.org/10.3390/rel13080677.

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It is noteworthy that the thinking of Nicholas of Cusa (1401–1464) has recurred again and again among prominent recent theologians who, critical of Modern rationality, have brought back to the fore the importance of liturgical praxis. Often, however, the mystical theology of Nicholas of Cusa had been presented during the Twentieth Century primarily as an unfinished precursor to Modern subject-philosophy in the line of Kant. In this contribution, I will consider this striking change of perspective against the background of recent debates concerning the role of liturgy not only for theology, but also for philosophy. Does Cusa’s ‘art of praising’ offer a way out of the dilemmas facing liturgical thought?

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Agbo, Benedict Nwabugwu. "Decolonising the concept of solemnity in the Roman Catholic Liturgy of Igbo Land: A compositional study." IKENGA International Journal of Institute of African Studies 22, no. 3 (September 1, 2021): 1–24. http://dx.doi.org/10.53836/ijia/2021/22/3/009.

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Liturgical art music in Nigeria has been beleaguered by the confusion about what is truly African or traditional and what is foreign. This confusion is exacerbated by the Western traditional notion of the solemnity of the liturgy as opposed to the African notion of the concept. This paper investigates the theoretical constructs for authentic indigenization of liturgical music compositions in Nigeria many years after the colonialists have left and addresses issues pertaining to the unicity of style and peculiarity of form in African music. It problematizes the concept of solemnity in the liturgical music of Igbo land, arguing against the colonial concept of ‘sanctity of immobility’ insisting on the reflection of the African rhythmic and tonal sensibilities in the church’s notion of authentic worship. The paper relies on ethnographic data for its findings, using the research composition method to arrive at its major contentions and recommendations. It also provides a unique compositional sample as a kind of pastiche for further study of indigenization in the context of solemnity in liturgical music

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Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.

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For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.

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Rosidy, Tony Anwar, and Sultan Prasasti. "THE ART INCULTURATION OF THE CATHOLIC CHURCH OF THE SACRED HEART OF JESUS GANJURAN AND ITS IMPLICATIONS ON THE SPIRITUALITY OF THE PEOPLE." International Journal of Heritage, Art and Multimedia 4, no. 15 (December 1, 2021): 33–45. http://dx.doi.org/10.35631/ijham.415003.

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The connection between art and religion is found in several places. The Catholic Church of the Sacred Heart of Jesus Ganjuran, Yogyakarta is proof of the cohesion between art and religion in Indonesia. Inculturation is the process of adapting Catholic teachings with local culture, one of which is with art. This study aims to describe the cultural unquenching that occurred in the Catholic Church of the Sacred Heart of Jesus Ganjuran Yogyakarta and its implications on the spirituality of the people. This study uses descriptive qualitative methods with phenomenological approaches. The results showed that the inculturation that occurred resulted in a variety of art activities and art artifacts including Javanese liturgy, liturgical gamelan, Javanese architecture such as pendopo (Javanese pavilion), Javanese versions of Jesus and Mary statues and temples. The spirituality of the people is awakened with the concept of Java which is thick in its worship. Liturgical gamelan is one of the integral components in worship that makes a bond as man's sacred activity with God. The contemporary aspect can be seen from the gamelan classical rules that combine with the choir that forms a new aesthetic. It can touch the people in feeling the presence of God through local culture. The cohesiveness of the value of art and religion can stimulate people to experience the same religious and aesthetic experiences in worship.

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Vos, C. J. A. "Drivers for the writing of a sermon about reconciliation." Verbum et Ecclesia 26, no. 1 (October 2, 2005): 293–307. http://dx.doi.org/10.4102/ve.v26i1.225.

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This article focuses on the energy that must fill the homiletic space, in order for an effective sermon about reconciliation, to be created. Of concern is the liturgical situation in which, sermons about reconciliation take place – the homiletic process through which a homiletic theory is established, the sermon as a work of art and its structure. All these liturgical and homiletic motivators release energy, which enables preaching about reconciliation to take place in a way that moves the listener. Reconciliation means to overcome the divide between the rich and the poor and looking at other people the other person through different eyes.

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Félix-Jäger, Steven. "Installations and sacred spaces: A pentecostal engagement with visual liturgical art." Journal of Pentecostal and Charismatic Christianity 42, no. 1 (January 2, 2022): 72–85. http://dx.doi.org/10.1080/27691616.2022.2042047.

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Hornik, Heidi J., and Mikeal C. Parsons. "The Feast of Pentecost and Trinity Sunday: Liturgical Art in Context." Interpretation: A Journal of Bible and Theology 66, no. 1 (January 2012): 55–66. http://dx.doi.org/10.1177/0020964311425450.

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Sławecki, Michał. "The contexts of developing an artwork of the liturgical monody genre." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 71–79. http://dx.doi.org/10.5604/01.3001.0010.5352.

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In the case of historically informed performance, in every field of musical art, performance is a long process consisting of many stages. Between the first contact with a score and the final presentation of a piece on stage, there is a period of strenuous individual and team work. A conductor, as a person responsible for artistic creation, becomes a philologist, critic, music theorist and musicologist. As far as ancient repertoire – Western liturgical monody – is concerned, a conductor’s reflections should be of an interdisciplinary nature, enriched with theological aspects. In the liturgical monody repertoire, there are neither interpretational patterns nor instructions for a conductor. The better one knows the background of monody and its objectives, the better one is likely to understand the reasons for and manners of performance. Only interpretation of a neumatic symbol is a legitimate act in the field of artistic creation, wherein conductor finds one’s self-fulfillment.

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Souza, Ney De, and Lucy Terezinha Mariotti. "MEDELLÍN E A LITURGIA FUNDAMENTOS PARA TRADUZIR EM BELEZA O ESPAÇO CELEBRATIVO." PARALELLUS Revista de Estudos de Religião - UNICAP 10, no. 23 (December 2, 2019): 089. http://dx.doi.org/10.25247/paralellus.2019.v10n23.p089-107.

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Este artigo objetiva entrelaçar duas temáticas de enorme relevância para a teologia latino-americana: Medellín e a liturgia. O texto apresenta o capítulo 9 da II Conferência do Episcopado Latino-americano, tendo presente as grandes linhas do mesmo documento. Através da Liturgia se busca encontrar os fundamentos para que a “casa da Igreja” seja ícone da Beleza. Para tanto, se quer reler de forma sinótica o Concílio Vaticano II e a II Conferência no que diz respeito à liturgia e, de consequência, para a arte litúrgica.Palavras-chaves: Medellín; liturgia; arte; beleza; Vaticano IIAbstractThis article aims to interweave two themes of great relevance to Latin American theology: Medellín and the liturgy. The text presents chapter 9 of the II Conference of Latin American Bishops, bearing in mind the broad lines of the same document. Through the Liturgy one seeks to find the foundations for the "house of the Church" to be the icon of Beauty. To that end, the synoptic re-reading of the Second Vatican Council and the Second Conference regarding the liturgy and, consequently, liturgical art.Keywords: Medellin; liturgy; art; beauty; Vatican II

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Marinis, Vasileios. "On earth as it is in heaven? Reinterpreting the Heavenly Liturgy in Byzantine art." Byzantinische Zeitschrift 114, no. 1 (February 1, 2021): 255–68. http://dx.doi.org/10.1515/bz-2021-9012.

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Abstract Compositions representing the Heavenly Liturgy - the liturgy that is presided over by Christ in heaven, of which the earthly liturgy is a reflection - first appear around the beginning of the fourteenth century in the decoration of Byzantine domes. Most scholars argue that such scenes depict an ancient concept, almost as old as liturgical exegesis itself. I contend that this view is based on a flawed reading of liturgical commentaries, of the biblical texts from which the commentaries draw inspiration, and of the Divine Liturgy itself. I argue that the scene of the Heavenly Liturgy represents both an exegetical stream independent of texts and an understanding of the eucharistic liturgy during the fourteenth and fifteenth centuries that existed in visual form in tandem with traditional textual interpretations of the rite. The scene, devised by painters and their patrons, therefore constitutes a concurrent exegetical tradition that both derived from the commentaries and deviated from them.

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Berman, Constance Hoffman. "Diane J. Reilly, The Cistercian Reform and the Art of the Book in Twelfth-Century France. Knowledge Communities. Amsterdam: Amsterdam University Press, 2018, 230; 16 color plates." Mediaevistik 32, no. 1 (January 1, 2020): 397–99. http://dx.doi.org/10.3726/med.2019.01.83.

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This volume contributes to our understanding of the liturgical and mental world of the early Cistercian monks and to the oral and aural community associated <?page nr="398"?>with early Cîteaux. Its title may be a misnomer for it is not about “Reform” per se or really about the art of the book (in the sense used by most specialists on the medieval book), but about the early liturgical practices at the new monastery that came to be called Cîteaux and about illustrations or illuminations of a limited number of manuscript volumes produced at Citeaux and preserved in the Dijon municipal library.

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Guvakova, Elena V. "Liturgical wooden carved cross from the collection of the Russian Icon Museum." Russian Journal of Church History 1, no. 1 (March 5, 2020): 47–56. http://dx.doi.org/10.15829/2686-973x-2020-1-9.

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The paper considers a carved priestly cross of the XIX century from the representative collection of Ethiopian art of the Russian Icon Museum. This is one of the typical Ethiopian crosses with a characteristic rhomboid shape, with the image on the front side of the liturgical procession and the icon of the Mother of God, and ornamented on the back with a braided pattern with cross-shaped ornaments woven into it. The image of the dancing participants of the liturgical procession with drums and sistra represents a unique fusion of different traditions, the influence of the Old Testament tradition was manifested in the symbolic image of tabot.

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Huralna, Svіtlana. "Monodial stylistics in the liturgical works of Galician composers of the end of the XIX – first half of the XX centuries." Pro Musica Sacra 20 (November 23, 2022): 49–67. http://dx.doi.org/10.15633/pms.2003.

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The article draws attention to the historical and social processes that influenced the peculiarities of the development of Ukrainian culture, in particular, formed the specifics of church-educational life and liturgical-choral practice of Galicia in the late nineteenth and first half of the twentieth centuries. The close cooperation of the spiritual and artistic elite was emphasized, which resulted in the improvement of the level of art education, intensification of the activities of numerous choral societies and composers. Based on the analysis of the liturgical works of P. Bazhansky, V. Matyuk, J. Kishakevych, S. Liudkevych, the prerogatives of the author’s composition in the use of monody style were revealed.

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Algaze, Ariela. "The artistic program of the Baptistery of San Giovanni in Dante’s liturgical imagination." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 399–427. http://dx.doi.org/10.1177/00145858211022577.

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This paper 1 re-examines the relationship between Dante’s Commedia and the Baptistery of San Giovanni from an art historical perspective. Drawing on –– and then departing from –– earlier work by Dante scholars who described figurative echoes between the Commedia and the Baptistery’s mosaic program, this article reconceptualizes the relationship between the two as not only figurative, but also liturgical. Using the texts of two extant medieval Florentine libri ordinales to reconstruct the liturgy of Holy Saturday, I document the ways in which the decorative mosaic imagery of the Baptistery is reflected in and reinforced by the multisensory performance of the baptismal rite. I argue further that Dante ekphrastically reimagines this rite in cantos 1–2 and 29–33 of Purgatorio. By exploring Dante’s liturgical imagination vis-à-vis the multivalent space of the Baptistery, this paper articulates and illuminates the profound interconnections that can exist between medieval art, architecture, liturgy, and poetry.

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N. Moll, Kevin. "Streaming Music into Renaissance Studies: The Case of L’homme armé." Explorations in Renaissance Culture 43, no. 2 (December 9, 2017): 109–39. http://dx.doi.org/10.1163/23526963-04302001.

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College-level courses devoted to Renaissance culture typically put a premium on incorporating primary sources and artifacts of a literary, art-historical, and historical nature. Yet the monuments of contemporaneous music continue to be marginalized as instructional resources, even though they are fully as worthy both from an aesthetic and from a historical standpoint. This study attempts to address that problem by invoking the tradition of early polyphonic masses on L’homme armé – a secular tune used as a unifying melody (cantus firmus) throughout settings of the five-movement liturgical cycle. Beginning by explaining the origins and significance of the putative monophonic tune, the paper then details how a series of composers utilized the song in interestingly varied ways in various mass settings. Subsequently it sketches out a context for mysticism in the liturgical-musical tradition of L’homme armé, and points to some compelling parallels with the contemporaneous art of panel painting, specifically as represented in the works of Rogier van der Weyden.

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Fröhlich, Hans Bruno. "The Church on the Hill in Schäßburg/Sighişoara. A Jewel of Architecture and Art-History on a Marginal Spiritual-Liturgical Existence." Review of Ecumenical Studies Sibiu 13, no. 2 (August 1, 2021): 256–67. http://dx.doi.org/10.2478/ress-2021-0024.

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Abstract The Evangelical Church C. A. in Romania has an impressive treasure trove of churches of cultural and art-historical value in Transylvania. One of the most important sacred buildings is the Church on the Hill in Schäßburg/Sighisoara. But although it is a liturgically important space, it has served other purposes over and over again in the course of history. The fact that the Evangelical community became very small after 1989 brought with it the challenge of using this place of worship adequately. In the last few decades – i with the inclusion of the old town of Schäßburg on the list of UNESCO as a World Heritage Site – the Church on the Hill has become a tourist magnet. Culture lovers can listen to contemplative organ concerts. Due to the epidemiological situation, it now serves more and more liturgical purposes.

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BODURIAN, Agota. "The evolution of Armenian liturgical music." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 39–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.4.

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"The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interestin g topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies."

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OLSSON, BIRGER. "The Canticle of the Heavenly Host (Luke 2.14) in History and Culture." New Testament Studies 50, no. 2 (April 2004): 147–66. http://dx.doi.org/10.1017/s0028688504000104.

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The angels still do not know how to sing during Christmas night. Some have three lines in Luke 2.14, others only two. Some have good liturgical hymns in their textbooks, others must use bad prose versions. This article reconstructs a Hebrew version with its focus on the righteous remnant of Israel, the Anawim in Jerusalem who saw Jesus as the beginning of the restoration of Israel, and goes on to analyse the original and the liturgical versions in Greek, different Latin translations and renderings into Syriac and Coptic. Finally it gives some later interpretations of the canticle in literature, art and music. There are good reasons to include much more of reception history into the NT discipline.

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Osborne, Catherine R. "The Art of the "Global Church": Around the World with Liturgical Arts." U.S. Catholic Historian 39, no. 3 (2021): 25–47. http://dx.doi.org/10.1353/cht.2021.0016.

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Adamova, Tatiana. "History of liturgical vestments through the analysis of monuments of visual art." St.Tikhons' University Review. Series V. Christian Art 35 (September 30, 2019): 9–32. http://dx.doi.org/10.15382/sturv201935.9-32.

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Tomic-Djuric, Marka. "To picture and to perform: The image of the Eucharistic Liturgy at Markov Manastir (I)." Zograf, no. 38 (2014): 123–41. http://dx.doi.org/10.2298/zog1438123t.

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This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the representations of the deceased Saviour and Christ the Great Archpriest - are compared to various liturgical sources and visual analogies (monumetal painting and liturgical textiles) in the medieval art of Serbia and Byzantium.

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Natalya S., Murashova. "Development of spiritual music in Russia of Peter I’s reign period." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 159–64. http://dx.doi.org/10.30725/2619-0303-2022-1-159-164.

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Development features of liturgical and outliturgical spiritual music of the period of Peter I’s reign are associated by the following processes of transition period between Middle Ages and Modern Age: 1) polystylism because of Old Russian Znamenny Chant in a church usage and genetically related demestvenny and peavey chants, strochny singing, as well as influenced by European singing part-song; 2) representation of several genres’ manifests in monodiyny chants, harmonization of bookhood singing and part-song compositions as parts of liturgical singing as well as spiritual cants and psalms as parts of out liturgical singing; 3) coexistence of several Christian traditions – orthodoxy (official and Old Believers), Lutheranism and Catholicism; 4) development of spiritual song writing with two trends. The first one was characterized by creation of part-song compositions with constant polyphony in addition to Znamenny chants by sovereign’s clergy singers. The second trend was associated with the influence of European part-song with variable polyphony. Priority of innovative reforms was typical for secular music of the period of Peter I’s reign. It was driven by introduction of professional secular music art in the mentioned period. However, the reforms in spiritual singing with its deep centuries-long traditions were moderate. Innovations were hold by liturgical intent of singing, the function of the singing in the church usage, Church Slavonic language, and regulation of novelties by representatives of Russian culture.

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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.

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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.

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Vogt, Naomi. "The Invention of (YouTube) Ritual and Pierre Huyghe’s Holiday." TDR: The Drama Review 65, no. 4 (December 2021): 147–65. http://dx.doi.org/10.1017/s1054204321000599.

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Pierre Huyghe’s Streamside Day shifts the boundaries between representing and producing rituals. In 2003, the artist scripted a holiday for a freshly built, suburban-style neighborhood in New York State, which he simultaneously turned into a documentary film and quasi-liturgical participatory installation. Beyond the art world, innumerable new rituals are formalizing and circulating through videos online.

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Lawson, Kevin E. "Light from the “Dark Ages”: Lessons in Faith Formation from before the Reformation." Christian Education Journal: Research on Educational Ministry 14, no. 2 (November 2017): 328–46. http://dx.doi.org/10.1177/073989131701400206.

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This article explores how parish members in the later medieval era in England learned the Christian faith through a variety of means (e.g., preaching, liturgical calendar, art, music, poetry, drama, confessional instruction, spiritual kinship relationships, catechetical instruction) with an eye on what we might learn from this era that could strengthen the church's educational ministry efforts in the present.

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Karras, Valerie A. "The Liturgical Functions of Consecrated Women in the Byzantine Church." Theological Studies 66, no. 1 (February 2005): 96–116. http://dx.doi.org/10.1177/004056390506600105.

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[Although the ordained order of deaconesses vanished in the Byzantine Church, some women continued to fulfill, either informally or formally, various liturgical functions in public church life. The author examines1 the art-historical and textual evidence of three groups of women: noblewomen who participated as incense-bearers in a weekly procession in Constantinople; matrons who helped organize and keep order in a monastic church open to the public in Constantinople; and the possibly ordained order of myrrhbearers in the Church of Jerusalem.]

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Radke, Gary M. "Nuns and Their Art: The Case of San Zaccaria in Renaissance Venice*." Renaissance Quarterly 54, no. 2 (2001): 430–59. http://dx.doi.org/10.2307/3176783.

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This article discusses the ways in which fifteenth-century nuns financed, shaped and used works of art and architecture at the Benedictine convent of San Zaccaria in Venice. Evidence from chronicles, account books, liturgical manuscripts, reports of visits to the convent, and inscriptions on the works of art themselves shows that the nuns viewed art within their convent extremely proprietarily. While they accepted subsidies from the civic government, indulgences from popes, privileges from Byzantine emperors, and donations from private patrons, the nuns paid close attention to the administration of commissions within the convent church and committed substantial funds to artistic projects, making them their own.

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Montagnolo, Irene, Marco Bacci, Laura Baratin, Giovanni Checcucci, and Maria Rita Ciardi. "Aesthetical presentation of a devotional artwork. Issues and possible virtual solutions." Ge-conservacion 18, no. 1 (December 10, 2020): 307–12. http://dx.doi.org/10.37558/gec.v18i1.850.

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In this contribution, the accent is focused on the complexities and possible solutions faced by a restorer during the phase of aesthetical presentation of devotional artworks. For this kind of artefacts is not often possible to apply the logic of conservative restauration (Zanardi 2009), which requires a minimum intervention. The devotional aspect is an added value protected by a number of symbolic codes (Argenton 2017) understood by the religious community, for which the artifact was intended. The work was also analysed through a series of interviews with various figures related to the devotional and liturgical artwork: the restorer, the art historian art and the religious community as user of the art work.

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Davidova, Maria G. "Project Proposal of Mural Painting in the Chapel of the Stieglitz Saint-Petersburg State Academy of Art and Industry." Observatory of Culture, no. 6 (December 28, 2015): 36–40. http://dx.doi.org/10.25281/2072-3156-2015-0-6-36-40.

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This article is dedicated to common problems connected with a modern decorative program of Christian mural painting for a chapel or other compact liturgical architectural space. The article considers some neoclassical models, unrelated to the canonical language of an icon, and offers several practical recommendations for artists involved in the monumental church painting.

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Marques, João Luís. "Modernity and contemporaneity in dialogue with the heritage." Actas de Arquitectura Religiosa Contemporánea 7 (October 1, 2020): 158–69. http://dx.doi.org/10.17979/aarc.2020.7.0.6318.

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Since the 1960s, the artistic and architectural interventions carried out in the church of Santa Isabel and Rato Chapel, in Lisbon, brought to the debate the overlap of different narratives in these two different spaces of worship: the first, is a parish church preserved by the earthquake of Lisbon (1755), which had its liturgical space redesigned before the Second Vatican Council; the second, is a private chapel annexed to a 18th century palace that became a symbolic worship space for students and engaged young professionals since the 1970s. Enriched with the work of either well-known artists or, sometimes, anonymous architects, the two case studies show us the life of monuments, where Modern and Contemporary Art and Architecture participate in preserving and enhancing their cultural value. At the same time, the liturgical and pastoral activities are shown to be the engine behind successive interventions.

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RODRÍGUEZ VIEJO, JESÚS. "The Performative Manuscript: Art, Agency and Public Ritual in Ottonian Mainz." Journal of Ecclesiastical History 70, no. 2 (April 2019): 229–64. http://dx.doi.org/10.1017/s0022046918002646.

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The German city of Mainz under Archbishop Willigis (975–1011) witnessed a major flourishing of the arts, particularly in the field of architecture. During this period, a benedictional, now in St Gall, was also commissioned. Its only figurative content is an image of Christ in Majesty on its first folio. Taken as a case study, analysis of this permits an approach to the barely-explored concept of performativity in early medieval illuminated manuscripts. This Maiestas Domini, the list of blessings contained in the book and contemporary depictions of religious ceremonies invites consideration of the joint role that image and manuscript played in the dynamic liturgical rites during which the benedictional was handled.

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Parada López de Corselas, Manuel, and Alberto A. Vela-Rodrigo. "Cultural Hybridization in Christian China: The Art of Cloisonné at The Service of God." Religions 12, no. 12 (December 14, 2021): 1103. http://dx.doi.org/10.3390/rel12121103.

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The usual conception of traditional Chinese art tends to forget the existence of a rich cultural legacy of Christian origin that has been reflected in the manufacture of ritual objects for the convert communities and European missionaries in China. Among the most used techniques, cloisonné stands out, with important liturgical or decorative pieces treasured by missionaries and collectors, many of them in Western museums today. This work tries to make an approximation to some of those ritual objects used by the Christian Chinese communities that reflect the great influence that the Western artistic models had in the conception of art as a result of the cultural hybridization between both worlds.

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Stojanović, Marina. "Origen and liturgical symbolism: The teaching of the great Alexandrian theologian on church art." Sabornost, no. 16 (2022): 65–75. http://dx.doi.org/10.5937/sabornost2216073s.

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The present paper aims to examine the relation between Liturgy as a service which is imbued with symbolism (and all kinds of art) and one typically spiritual view of communion with God. How could we reconcile Christian spirituality and liturgical symbolism? What is the view of Origen about liturgical symbolism? There are some opinions in academic research connecting Origen with iconoclastic beliefs in the Church. According to these opinions, Origen's concept of absolutely incorporeal God and the irreconcilable relation between spiritual and physical substances had influence on the repudiation of icons in Church in later times. In general, Origen's concept of God, human being and salvation formed one specific context for the theological understanding of human salvation and communion with God. With regard to this presumption, we will try to analyze it through the following steps. At first, we try to define the concept of body and material reality in Origen's ontology, as well as to contrast it to soul and spirit, which are largely emphasized in all his exegetical and other reflections. The second step is to try to reconstruct insights of Origen about symbols and icons in Liturgy. There is no complete exposition on this topic in his writings, but implicitly there is a possibility to investigate his teaching about icon and symbols. Here we take into consideration the idea of Christ as the icon of the invisible Father. Further, Origen mentions the concept of icon when he speaks about the difference between corporeal and spiritual man.

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Pervushin, Mikhail Viktorovich. "Two views on Olga of Kiev in the Ancient Rus’ hymnography." Litera, no. 10 (October 2020): 18–27. http://dx.doi.org/10.25136/2409-8698.2020.10.33861.

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This article is dedicated to analysis of the preserved liturgical written artifacts dedicated to the Saint Equiapostolic Grand Princess Olga. These hymnographic ancient manuscripts, in modern sense poetic art of composing ceremonial, laudatory and pious (liturgical) chants, allow tracing the perception of the act of holiness by several generations of Russian scribes who lived centuries after her, and how it is perceived by the contemporaries. These representations are revealed through analyzing the images of Saint Olga, her deeds, which were praised in one or another hymnographic work by the composer. The scientific novelty is reflected in the thesis that since the late XVI century the hymnographic and hagiographic monuments more often demonstrate a regularity – the authors (especially of monuments dedicated to princedoms) increasingly attempt to portray not a realistic person who achieved sainthood, rather a saint that descended to reality, thus already representing that which deserves praise and requires endless repetition thereof. The pinnacle of such reverence of not only the sainthood, but also living rulers, was the XVIII century, when living emperors were shamelessly place into the same bracket with God, and often replacing latter with the former, and the empresses, for whom “Christ” was an awkward name, were placed above God.

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Bokelman, Doot. "The Reception of Bartolomeo Bermejo’s Saint Augustine." Explorations in Renaissance Culture 41, no. 1 (March 16, 2015): 75–93. http://dx.doi.org/10.1163/23526963-04101004.

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The Art Institute of Chicago’s St. Augustine (oil on panel) is a universally accepted work by the Spanish artist Bartolome Bermejo. Painted around 1475, the writing saint has been identified as various Benedictine saints and St. Augustine, but these proposals are problematic because they do not take into account all of the iconographic elements within the panel or early Renaissance liturgical practices. This essay will examine the many iconographic details of the panel and consider the surviving archival materials, including an original contract for an ecclesiastically similar figure, Sto. Domingo de Silos by Bermejo. Uncommon ecclesiastical circumstances of Sto. Domingo de Silos in Daraco found in a papal document mirror those found in St. Benedict’s foundation in Monte Cassino. These iconogaphic and textual studies in coordination with an understanding of contemporary liturgical and Benedictine practices will reveal that St. Benedict is the single figure whose personal and ecclesiastical life most closely corresponds to the evidence in the Chicago panel.

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Hodøl, Hans-Olav. "Når skjermene inntar kirkerommet - om bruk av digital presentasjonsteknikk i gudstjenester." Theofilos 12, no. 2-3 (February 26, 2021): 310–29. http://dx.doi.org/10.48032/theo/12/2/9.

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This study aims to elucidate how modern presentation technology is being used by Norwegian Christian congregations. It is based on a survey answered by 715 church leaders, and the practice revealed is discussed particularly on the basis of Eileen D. Crowley's framework for ‘liturgical media art’. The findings show that presentation technology is used to a significant extent, but mainly as practical, visual support for communication. The article argues that there is a potential to use technology for aesthetic purposes as well.

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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.

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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.

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Carr, Annemarie Weyl. "Iconography and Identity: Syrian Elements in the Art of Crusader Cyprus." Church History and Religious Culture 89, no. 1 (2009): 127–51. http://dx.doi.org/10.1163/187124109x408032.

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AbstractThe murals of triumphal arch in the Church of the Panagia Phorbiotissa, Cyprus, painted in the late thirteenth century when Cyprus was a Crusader state, adopt an iconography paralleled not in Byzantium but in the Miaphysite churches of the Syrian and Egyptian mainland, and best analyzed in relation to Miaphysite liturgical exegesis. As such, they suggest three revisions to current ways of thinking about the roles of Cyprus and the mainland in shaping the art of the Crusader era: 1) rather than for a 'maniera cypria' or a 'maniera tripolitana', we must look for an intricate, two-way reciprocity; 2) it is a reciprocity not simply between Cyprus and the mainland Crusader states, but between Cyprus and the far larger terrain of Syrian and Egyptian eastern Christendom; and 3) it engages not only style but also iconography and content.

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Jemo, Danijela, and Djurdjica Parac-Osterman. "Identification of Natural Dyes on 18th Century Liturgical Textiles from Dubrovnik." Fibres and Textiles in Eastern Europe 25 (February 28, 2017): 113–20. http://dx.doi.org/10.5604/12303666.1227891.

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In this paper researches were carried out on fragments of textiles from the 18[sup]th[/sup] century from Dubrovnik, for which, based on the design and art-historical analysis, it was determined that it was a part of an object (pluvial, cope) from liturgical vestments (ecclesiastical textiles) of the Dubrovnik diocese. Using modern non-destructive and micro-destructive methods we conducted the identification of green, blue and red as the dominant tones on the artefacts of historical textiles from Dubrovnik. The identification was based on the application of modern complementary techniques: UV / VIS, HPLC, SEM-EDX and FTIR-ATR. We analysed samples of coloured fiber, as well as ones obtained by the extraction of dyes from the dyed fibers. Archival data on natural dyes used in the Dubrovnik region in the period 14-19th century was taken into account in the identification of the historical textile dyes.

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Safran, Linda. "Art and Architecture in Byzantium and Armenia: Liturgical and Exegetical Approaches by Thomas F. Mathews." Catholic Historical Review 83, no. 4 (1997): 756–57. http://dx.doi.org/10.1353/cat.1997.0209.

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Journal articles on the topic 'Liturgical art'

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