Artykuły w czasopismach: „Sacred images”

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Stewart, Frank, i Katsunori Yamazato. "Images of the Sacred". Manoa 23, nr 1 (2011): 147–50. http://dx.doi.org/10.1353/man.2011.0021.

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Holmes, Catherine. "Review: Sacred Images and Sacred Power in Byzantium". English Historical Review 120, nr 486 (1.04.2005): 419–21. http://dx.doi.org/10.1093/ehr/cei129.

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Ousterhout, Robert G. "Sacred Images and Sacred Power in Byzantium (review)". Catholic Historical Review 93, nr 3 (2007): 615–16. http://dx.doi.org/10.1353/cat.2007.0298.

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Wesley, Deborah. "Personal Images of the Sacred". Psychological Perspectives 62, nr 4 (2.10.2019): 367–77. http://dx.doi.org/10.1080/00332925.2019.1659061.

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O'Reilly, Terence, i Jeremy Robbins. "Sacred Images and Their Contexts". Bulletin of Spanish Studies 93, nr 7-8 (13.09.2016): 1271–300. http://dx.doi.org/10.1080/14753820.2016.1229890.

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Antonov, Dmitriy, i Victoria Novikova. "Conference “Image and Cult: Sacred Images in Christian Traditions”". Shagi / Steps 7, nr 1 (2021): 311–18. http://dx.doi.org/10.22394/2412-9410-2021-7-1-311-318.

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Sinclair, Katherine. "Sacred exchanges: Images in global context". Visual Studies 28, nr 2 (czerwiec 2013): 193–94. http://dx.doi.org/10.1080/1472586x.2013.765238.

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Hoogvliet, Margriet. "Metaphorical Images of the Sacred Workshop". Church History and Religious Culture 99, nr 3-4 (4.12.2019): 387–411. http://dx.doi.org/10.1163/18712428-09903005.

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Abstract The textual witnesses of religious poetry produced by the late medieval confraternity of the Puy Notre-Dame in Amiens, in northern France, give an example of a type of religious text which allows us to reconstruct the interplay between the religious field and the social field of commerce and artisanal production. After discussing the practices of producing and staging religious poetry in confraternities in late medieval and early modern France as “hybrid forums”, the article discusses several examples of texts from unpublished manuscripts. It argues that the vivid imagery of the poems dedicated to the Virgin Mary allowed a mutual exchange of resources. While the members of the ordained religious gathered support and a popularized religious language, the participating laypeople could imbue their everyday work with a form of sacrality.

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Kumar, Sudhir. "IMAGE, BRAND AND THE SACRED (INDIA)". International Journal of Research -GRANTHAALAYAH 3, nr 11 (30.11.2015): 106–21. http://dx.doi.org/10.29121/granthaalayah.v3.i11.2015.2920.

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In the age of global digital revolution the ways of seeing things, the concept of visuality, frequency of images, their interplay and the multiplicity of their meaning have tended to become the culture of the day. Proliferation of screen culture, plethora of print images and the abundance of commercial visuals all around have caused an unprecedented changes in the methods of consuming images within the cultures. In India, where it is difficult to imagine a culture without images and visuals, ‘seeing’ consists more than what is commonly considered mere as ocular sight. ‘Seeing’ cannot be without ethics in India and images here always need a positive symbolism, and a sense of sacredness is always attached to the most of them. Branding in an age of visual proliferation has more to depend on the dynamics of images and the visual symbols which situate themselves at the liminal zones between consumers’ own real world and the virtual worlds of the brands projected by corporate sectors. This paper taking ethico-spiritual stance attempts at rethinking on the present approaches of branding in Indian context where consideration for dominant and diverse visual cultures appear to be pertinent.

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Silverman, William. "Images of the Sacred: An Empirical Study". Sociological Analysis 49, nr 4 (1989): 440. http://dx.doi.org/10.2307/3711229.

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Mitri, Monica. "“Then He Stabbed Me with a Spear”: Aggressive Sacred Images and Interreligious Polemics". Method & Theory in the Study of Religion 34, nr 1-2 (11.11.2021): 86–104. http://dx.doi.org/10.1163/15700682-12341532.

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Abstract This paper studies Coptic communal identity in early Islamic Egypt by analyzing two hagiographical narratives from the Christian Copto-Arabic text The History of the Patriarchs of Alexandria. The narratives relate incidents of sacred images that become ‘aggressive’ when they retaliate against insults. Although the relation between religious violence and sacred art has merited much scholarly attention, the focus is usually on humans as the aggressors and sacred art as the victim. The reverse is scarcer, and its rarity means we miss an opportunity to rethink such narratives as communicative modes of rhetoric to be contextually interpreted. Here I argue that these aggressive sacred images were tools of power within a polemic religious discourse aimed at proclaiming divine truth, undergirding it with supernatural power, and ultimately shaping Coptic communal identity around this discourse.

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Schieppati, Sara Valentina, Cinzia Di Dio i Gabriella Gilli. "Religious and sacred art: Recent psychological perspectives". RICERCHE DI PSICOLOGIA, nr 1 (maj 2022): 1–12. http://dx.doi.org/10.3280/rip2022oa13589.

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The psychology of art has had an enormous development since the middle of the last century; however, no much work has been done in association with religious and sacred art. This paper aims to provide a brief history of the use of images in the three great monotheistic religions, i.e., Judaism, Christianity, and Islam.All three religions have been influenced by the commandment (Exodus, 20:4), which prohibits idolatry. Nevertheless, when it comes to the use of images with religious content, the commandment is interpreted differently by the three. If in Judaism and Islam the use of images is not particularly widespread and is bound to precise conditions, in Christianity a strong relationship with the visual arts has developed, at least until the Reformation. After this split, the use of images was only encouraged by the Catholic Church even though, with the Enlightenment, religious and sacred art suffered a decline even in Catholic culture.It was not until the twentieth and twenty-first centuries that the Catholic Church returned to support and encourage art in the religious context. It will then be necessary to distinguish between religious art and sacred art because they serve different functions. Precisely because it is a field in which deepening is possible, it could be very interesting for the psychology of art to study the perception of religious and sacred images, for example investigating constructs associated with the perception of vitality and aesthetic judgment.

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Ramnarine, Tina K. "SONIC IMAGES OF THE SACRED IN SÁMI CINEMA". Interventions 15, nr 2 (czerwiec 2013): 239–54. http://dx.doi.org/10.1080/1369801x.2013.798474.

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Luchesi, Brigitte. "Looking Different: Images of Hindu Deities in Temple and Museum Spaces". Journal of Religion in Europe 4, nr 1 (2011): 184–203. http://dx.doi.org/10.1163/187489210x553557.

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AbstractEuropeans familiar with sacred Hindu art from visits to museums often are perplexed when they encounter similar objects in temples and sacred sites. The exhibits tend to look different. This can be explained by the different ways to present them as well as the different underlying conceptions which in turn guide the perception and behaviour of the beholders.

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Vassenden, Anders, i Mette Andersson. "When an image becomes sacred: photo-elicitation with images of holy books". Visual Studies 25, nr 2 (3.09.2010): 149–61. http://dx.doi.org/10.1080/1472586x.2010.502672.

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Jiménez García, Elizabeth. "WARRIORS, KINGS, AND TEOHUAQUE AT TULA: A RECONSIDERATION OF THE SO-CALLED “WARRIOR PILLARS” ATOP PYRAMID B". Ancient Mesoamerica 32, nr 1 (2021): 146–64. http://dx.doi.org/10.1017/s095653612000019x.

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AbstractPyramid B was one of the most important buildings in the sacred precinct of the Early Postclassic city of Tula, Hidalgo. On its summit was a temple supported by anthropomorphic and zoomorphic columns and four pillars containing the reliefs of 16 individuals and other images. Based on comparative analysis with other archaeological specimens and images from conquest era codices, I propose that all 16 individuals were warrior-kings in sacred dress bearing a suite of weapons associated with the Tollan-Xicocotitlan elite.

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Marsadolov, L. S. "Reflection of sacredness on number of ancient objects in Siberia". Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 17 (2022): 132–39. http://dx.doi.org/10.37386/2687-0584-2022-17-132-139.

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Based on the materials of sacred images in the “art” of the Eurasian nomads of the Scythian time, using the sum of modern research methods, it is possible to reconstruct the foundations of the world view, art, astronomy, mathematics and other branches of knowledge laid down in ancient objects. Such a reconstruction is possible on the basis of a new semantics of sacred images on objects from Siberia (from the barrow Arzhan-1, Siberian collection of Peter I, Novopyatnitsky treasure and other objects).

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CHARI, V. K. "Representation in India's sacred images: objective vs. metaphysical reference". Bulletin of the School of Oriental and African Studies 65, nr 1 (luty 2002): 52–73. http://dx.doi.org/10.1017/s0041977x02000034.

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Coomaraswamy and other art interpreters have read into Indian images metaphysical meanings extrapolated from scriptural sources. In this article it is argued that such meanings, with which image-making was doubtless invested, were intended for purposes of meditation and cannot be admitted as part of the objective representation of the images, except where they figure as iconographical features. The images were also not conceived as yantras, but as full-bodied representations conforming to objective norms. The metaphysical excursions are largely extraneous to the aesthetic assumptions of Indian art and detract from its rich mythical content.

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Krevchenko, Elena Viktorovna. "The symbolism of mappae mundi: genesis and evolution of historical images". Культура и искусство, nr 1 (styczeń 2020): 43–55. http://dx.doi.org/10.7256/2454-0625.2020.1.30247.

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The subject of this research is the genesis and evolution of iconography of historical images in illumination of the medieval monastic maps of the world – mappa mundi. Such images on the maps visually depicted the process of sacred Christian history. The reflection of the sacred history was necessary for introducing the time element into the model of the world represented by mappa mundi map. This moment was important in light of representations on the existing continuity of the world and its history, due to inevitability of realization of the divine plan. For the analysis of iconography of historical images of the maps, the author applied the means of formal, iconological, iconographic and comparative analysis. The medieval illuminated map of the world is views as a complex information matrix, as well as a methodological tool for tracing the historiography of sacred history. The role of medieval maps mappae mundi in comprising the worldview perception of the era until the present remains insufficiently studied not only within the national, but also foreign science.

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Zotov, Sergei O. "TYPOLOGY OF GERMAN ANDACHTSBILDER AND ITS CONNECTION WITH VOTIVE ICONOGRAPHY". Folklore: structure, typology, semiotics 5, nr 1 (2022): 126–37. http://dx.doi.org/10.28995/2658-5294-2022-5-1-126-137.

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This article provides the author’s typology of a specific and underresearched genre of sacred art – Andachtsbilder, which in some cases was influenced by the iconography of votive images. From the fourteenth century onwards, pocket or home sacred images were used in Germany for piety. They were called Andachtsbilder, literally – “prayer images”. Commonly, they were images of saints and could be engravings, miniatures, or even appliqués. Andachtsbilder’s motifs were usually associated with the images of the Holy Family or mystical allegories, but there was another type of Andachtsbilder, in particular, images representing a scene of some miracle. Their prototypes were often originally votive objects (wax, silver, etc.) or votive images (Votiftafel), i.e. images created as a vow to God or saints. Some of the votive objects appeared on the votive images (Votiftafel). Further, the most famous votive images could be copied onto Andachtsbilder. Votive images copied onto Andachtsbilder, according to my hypothesis, could have a magical function, like the wellknown Schluckbildchen. The paper presents a cross-section of the main Andachtsbilder typologies and provides examples of images that migrated from votive practices into the practice of domestic, “pocket” piety. The cultural and anthropological analysis of these phenomena follows

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이승혜. "Enshrining the Sacred within Buddhist Images: Issues and Prospects". Korean Studies Quarterly 38, nr 1 (marzec 2015): 32–64. http://dx.doi.org/10.25024/ksq.38.1.201503.32.

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Baird, Ian G. "Champassak royal sacred Buddha images, power and political geography". South East Asia Research 25, nr 4 (grudzień 2017): 359–78. http://dx.doi.org/10.1177/0967828x17740007.

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Stengs, Irene. "Sacred Singularities: Crafting Royal Images in Present-day Thailand". Journal of Modern Craft 5, nr 1 (marzec 2012): 51–67. http://dx.doi.org/10.2752/174967812x13287914145479.

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Kharyuchi, Galina. "Sacred Places in the Nenets Traditional Culture". Sibirica 17, nr 3 (1.12.2018): 116–37. http://dx.doi.org/10.3167/sib.2018.170310.

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The Nenets people have various forms of worshipping spirits in their sacred landscapes. The article examines the history, definitions, and classifications of forms of worship of the Nenets sacred places (khebidia ia). Cult structures (khekhe) include objects of nature as well as effigies of various deities installed at sacred sites or residential areas. Images of a master spirit carved in stone or wood (siadei) mark tribal or general significant sites of worship. The main activities carried out on these sacred sites relate to seasonal rituals of the life cycle and to subsistence practices such as fishing and hunting. The most important of them were sacrificial rituals.

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Russo, Adelaide M. "Minor preoccupations, major endeavors: The community of poets and painters". Cultural Dynamics 32, nr 1-2 (luty 2020): 14–30. http://dx.doi.org/10.1177/0921374019900694.

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In Au fond des images (2003), Jean-Luc Nancy introduces concepts about the image, pertinent to understanding the minor genre of poets’ writings on painting. Nancy begins by stating that the image is sacred, clarifying that the sacred should not be confused with the religious, which is based on rituals. The sacred signifies that which is separated, excluded, distanced. The image’s attraction is derived from this, from its untouchable nature. Because of its separation from the viewer, the image inspires a desire for intimacy, and draws the spectator to it. Poets’ texts on painting constitute minor forms: prefaces to catalogs, criticism, or poems that are verbal transpositions of visual objects ( ekphrasis). These minor forms often express major preoccupations. In this essay, we address Mark Strand, Michel Deguy, Nicolas Pesquès, Yves Bonnefoy, and T. Alan Broughton from this perspective of a desire for contact in their efforts to develop their aesthetic and ethical principles through the gaze.

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Lahaeye, Anaelle. "From sacred body to waste". Human Remains and Violence 8, nr 2 (październik 2022): 58–73. http://dx.doi.org/10.7227/hrv.8.2.5.

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There are many factors at work in the iconography of human remains. Some of those frequently discussed are aesthetic criteria, iconographic traditions and specific contingencies, whether political (for example in war paintings), symbolic (essential for transi images) or cultural. There is, however, one factor that is rarely mentioned, despite its centrality: the regime of value associated with corpses. Christ’s body is not painted in the same way as that of a departed relative or that used in a human dissection. Artists choose a suitable iconography depending on how the remains are perceived. This criterion became absolutely crucial in contexts such as nineteenth-century France, when attitudes to corpses underwent major changes.

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Gojnik, Zorana Sokol. "Space as Symbol in Sacred Architecture. The Problem of Christian Sacred Architecture". Resourceedings 2, nr 3 (12.11.2019): 136. http://dx.doi.org/10.21625/resourceedings.v2i3.638.

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In contemporary research (theoretical and architectural projects) of Christian sacred architecture it has been observed that there is a lack of understanding of the phenomenon of space as one of the symbols of sacred architecture.The goal of this paper is to point out the importance of observing the space (architecture) as a sacred symbol, because a problem has been recognised, dealing with the lack of fundemantel definition in the interpretation of the sacred space.In this paper, the research will be carried out by a comparative analysis of the religious concepts of the great religions of Hinduism, Buddhism, Judaism, Christianity, and Islam, as well as their materialisation through space.The expected result of the research is to confirm the hypothesis that space, as well as rituals, images, artistic works, etc. in sacred architecture has the role of a symbol. Space has the task of keeping the basic concepts of religions and of being a mediator of the experience of faith.

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Nosova, Ekaterina S. "Religious views of Cardinal Gabriele Paleotti on sacred art". Izvestiya of Saratov University. New Series. Series: History. International Relations 21, nr 2 (23.06.2021): 200–205. http://dx.doi.org/10.18500/1819-4907-2021-21-2-200-205.

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Being founded upon the book «Instructions on religious and secular images» (1582), the article examines cardinal Gabriele Paleotti’s views on sacred art. The author explores the issue of perception of painting as a God-pleasing art, exposes the ideological aspect of sacred painting and reveals the cardinal’s complex evidence base on the need for the existence of religious images in churches and their significance in the life of every person. It is concluded that objects of art should be perceived not only as an artistic commentary on the text of Holy Scripture, but also as a prayer image that plays a cohesive role in interlocution with God.

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Vagnoni, Mirko. "Royal Images and Sacred Elements in Norman-Swabian and Angevin-Aragonese Kingdom of Sicily". Eikon / Imago 2, nr 2 (20.09.2013): 107–22. http://dx.doi.org/10.5209/eiko.73382.

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This paper analyses the royal images and the sacred elements; or rather, it studies the pictures of the kings of Sicily in Norman-Swabian and Angevin-Aragonese period (1130- 1343) produced inside the court with an official intent, and it examines their meaning regarding the royal sacrality of the king there represented: in other words, the relationship of the sovereign with the sacred element. In this way, it will achieve, regarding this matter, a different position in comparison with the previous interpretations given by historiography.

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Breier, Markus, Karel Kriz, Alexander Pucher i Lukas Neugebauer. "Beyond East and West – Geocommunicating Historical Sacred Landscapes". Proceedings of the ICA 4 (3.12.2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-14-2021.

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Abstract. The Project “Beyond East and West: Geocommunicating the Sacred Landscapes of “Duklja” and “Raška” through Space and Time (11th–14th Cent.)” attempts to recreate and communicate the sacred landscape during a time of transition and transformation. The project has an interdisciplinary approach and incorporates multiple media, like maps, images, and 3D models. The study area of the project is situated at the junction between the Dinaric mountain range and the coastal region of the Adriatic Sea. Historically, the region was shaped by the power struggle between Byzantium, the First Bulgarian Empire, and the Serbian Realm. Ecclesiastically, it was a zone of interaction as well as encounter between Rome and Constantinople. The aim of the project is to discover and visualise the spatial and temporal aspects of these encounters and transformation processes.To communicate the historical sacred landscape, a map-centred online application is used as a hub. To explore the relations between places, events, actors and artifacts, the users can follow the links between the entities. Content created during this project is more than points, lines or polygons which can be displayed on a map. Many objects are complemented with images, and for selected churches 3D models using aerial images captured by UAVs will be created. “Story Maps” are created for selected core research topics to provide an easily accessible starting point for users. The broader aim beyond the current research project is to provide a flexible framework, which can serve as a platform for similar research projects in historical geography and digital humanities.

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VILKHOVETSKA, Kateryna. "Sacred images in contemporary art: popularization is not without profancy". Humanities science current issues 1, nr 44 (2021): 42–50. http://dx.doi.org/10.24919/2308-4863/44-1-6.

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G., E., Heinrich Zimmer, Gerald Chapple i James B. Lawson. "Artistic Form and Yoga in the Sacred Images of India". Journal of the American Oriental Society 112, nr 1 (styczeń 1992): 177. http://dx.doi.org/10.2307/604649.

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Christopher, G. "The Dividing Muse: Images of Sacred Disjunction in Milton's Poetry". Modern Language Quarterly 46, nr 3 (1.01.1985): 332–35. http://dx.doi.org/10.1215/00182702-46-3-332.

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Warnek, Peter. "On the Ground of Images: Sacred Dogs and Monstrous Truth". Research in Phenomenology 49, nr 1 (4.03.2019): 49–64. http://dx.doi.org/10.1163/15691640-12341410.

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Abstract The article takes up the question of the “truth” of images by means of a somewhat playful reflection upon our human kinship with canine life and by considering the (perhaps surprisingly) recurrent images of dogs of all shapes and sizes within the philosophical tradition. Here there is occasion to consider both Socrates and Confucius, who had a special fondness for dogs and who were at times compared to dogs themselves. The paper begins with a reading of Kant’s schematism in the First Critique, as an operation that would establish a mediating relation between the concepts of the understanding and sensible intuitions, and ends with a meditation upon the dog-themed painting, “Dark Room,” by the contemporary artist, Alan Loehle. Kant accounts for our ability to grasp that we see a dog (his example!) by introducing a mysterious distortional skewing or Verzeichnung, which as a power of the imagination is able to freely sketch what appears for it within the sensible. The sense of this Kantian skewing or sketching thereby anticipates what Heidegger names the essential Verunstaltung belonging originally to the event of truth. The last half of the paper turns to Jean-Luc Nancy’s difficult but provocative work on the abysmal ground of images and attempts to show in this way how our human kinship with canine life exposes us to what Nancy would think, following Heidegger, as the elemental strife between earth and sky.

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Nisly, L. Lamar. "“The sacred idiom shorn of its referents”". Christianity & Literature 68, nr 2 (28.12.2018): 311–24. http://dx.doi.org/10.1177/0148333118784746.

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With some parallels to current postsecular interpretations of literature, this apophatic reading examines The Road ’s negations, hints, and images to point out that even in the novel’s bleak world, some suggestions of God shine through, providing readers and characters encouragement for the journey. Despite the devastated landscape and the apparent hopelessness, the novel’s questions and suggestions invite readers to consider the possibility that a divine spark may still be present.

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Cardoso, Cecília Mónica dos Santos. "Nos bastidores da Casa Arte Sacra Fânzeres: da materialidade à espiritualidade da escultura sacra". CEM, nr 14 (2022): 89–109. http://dx.doi.org/10.21747/2182-1097/14a5.

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The Casa Arte Sacra Fânzeres, located in Fânzeres (Gondomar), is specialized in the artisanal execution of sacred sculpture and furniture. This workshop, founded over fifty years ago, brings together employees who learned this art in a workshop context, as in the past. It also preserves the «traditional know-how» of the arts of wood carving, upholstery and sacred painting, as well as the application of gold leaf and crystal eyes in the images. In addition to the quality of the technical execution, this workshop also articulates with other local «ways of doing», such as goldsmithery, sewing and handcraft embroidery. The aim of this study is to address the materiality of the sacred image before it takes on spirituality in sacred spaces, as an appeal to the senses and transmission of meanings

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Сокаева, Д. В. "Non-fairy ossetian prose about sacred images and symbols and the Nart epic (experience of application of a plot-thematic index)". Эпосоведение, nr 3(15) (27.09.2019): 33–44. http://dx.doi.org/10.25587/svfu.2019.15.36597.

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Проблема составления указателей жанров фольклора является актуальной, в связи с чем мы задались целью апробировать составленный нами сюжетнотематический указатель несказочной прозы о сакральной сфере традиционных верований осетинского народа на нартовском эпосе осетин. Указатель несказочной прозы имеет в виду сакральные персонажи первого типа и базируется на классификации, которая представляет собой два блока, впервые предложенные нами на основе разделения сакральный/несакральный для осетинского фольклора он содержит 15 тем, относящихся к различным аспектам сакрального пространства осетин и позволяет изучить особенности отражения этой сферы мировоззрения в означенном жанре. В свою очередь, в нартовском эпосе осетин мы выделили три типа сакральных персонажей: это сакральные персонажи, актуальные на данный момент сакральные персонажи скифского, сарматского и аланского времени, превращенные в героев образы мифологических существ, которые в прошлом также были сакральными персонажами, но на данный момент сохранились как их отголоски. Применяя метод сопоставления, мы выяснили, какие же темы, обозначенные в имеющемся указателе, фигурируют в нартовском эпосе осетин, привело нас к выводу о том, что мы можем использовать указатель только по отношению к сакральным образам первого типа. Примененный ракурс исследования выявил разный угол отражения сакральной сферы в жанрах осетинского фольклора несказочной прозе и нартовских сказаниях осетин также по отношению к действительности. В указателе несказочной прозы учтены и устные рассказы, в этой связи разрыв между видением прошлого сказителем нартовского сказания и рассказчиком произведения несказочной прозы велико. Исследование показало, что индивидуальный компонент устного рассказа, как правило, не способствует обобщению, а эпическое обобщение в сказаниях является результатом существования образа или сюжета во времени. Перспективно изучение включения сакрального элемента в текст любого жанра осетинского фольклора. Ведь, несмотря на то, что сюжеты нартовского эпоса осетин архаичны, сказитель, исполняя сказание здесь и сейчас, несомненно, вносит в его художественную структуру свое отношение к сакральному элементу современной мифологорелигиозной и обрядовой действительности. В сравнении двух жанров осетинского фольклора несказочной прозы и нартовского эпоса под углом отражения в них сакральной сферы элемент сакральная сфера первого типа предстает как константа. The problem of compiling pointers to the genres of folklore is relevant, and therefore we set out to test our plotthematic index of nonfairytale prose about the sacred sphere of the traditional beliefs of the Ossetian people on the Narts Ossetian epic. The index of nonfairytale prose means the sacred characters of the first type and is based on the classification, which is two blocks that were first proposed by us on the basis of the separation sacred not sacred for Ossetian folklore it contains 15 topics related to various aspects of the sacred space of Ossetians and allows you to study the features of the reflection of this sphere of worldview in the indicated genre. In turn, in the Narts Ossetian epic, we distinguished three types of sacred characters: these are sacred characters that are relevant at the moment sacred characters of the Scythian, Sarmatian and Alanian times, turned into heroes images of mythological creatures, which in the past were also sacred characters, but at the moment are preserved as their echoes. Using the method of comparison, we found out what topics indicated in the existing index appear in the Narts epic of Ossetians, led us to the conclusion that we can use the pointer only in relation to sacred images of the first type. The applied perspective of the study revealed a different angle of reflection of the sacred sphere in the genres of Ossetian folklore nonfairytale prose and Narts legends of Ossetians also in relation to reality. The index of nonfairytale prose also includes oral stories, in this regard, the gap between the vision of the past by the narrator of the Narts legend and the narrator of the work of nonfairytale prose is great. The study showed that the individual component of a nonfairytale narrative, as a rule, does not contribute to generalization, and the epic generalization in legends is the result of the existence of an image or plot in time. A prospective study is the inclusion of a sacred element in the text of any genre of Ossetian folklore. Indeed, despite the fact that the plots of the Narts epic of the Ossetians are archaic, the storyteller, fulfilling the legend here and now, undoubtedly brings his attitude to the sacred element of modern mythological, religious and ritual reality into his artistic structure. In comparing two genres of Ossetian folklore fairytale prose and Narts epic at the angle of reflection of the sacred sphere in them, the element sacred sphere of the first type appears as a constant.

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Kramer, Kenneth P. "Writing Your Own Scripture?" Horizons 12, nr 2 (1985): 349–57. http://dx.doi.org/10.1017/s0360966900035039.

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AbstractIs it possible to write contemporary scripture? This discussion highlights the pedagogical value not only of teaching with primary resource materials, but also of having students creatively rewrite sacred texts. First, I discuss the purpose of a religious studies journal, and then provide some practical guidelines for journal-keeping along with suggestions for grading them. Secondly, I focus upon one type of creative journal exercise—rewriting sacred texts. In response to Ira Progoff s statements that we can create the Bibles of the world anew by recording images drawn up from our depth consciousness, I encourage students to write scripture-styled passages which deepen their appreciation for and understanding of sacred texts. To conclude, I provide six sample creative journal exercises, one from each of the sacred texts read in my Eastern Religions classes, along with several student responses.

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Tythacott, Louise, i Chiara Bellini. "Deity and Display: Meanings, Transformations, and Exhibitions of Tibetan Buddhist Objects". Religions 11, nr 3 (27.02.2020): 106. http://dx.doi.org/10.3390/rel11030106.

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This paper analyses the values and uses of Tibetan sacred artefacts in their original contexts as well as the transformation of meanings once placed in museums. It discusses the perception of statues, paintings, ritual instruments and books from a Tibetan Buddhist perspective, examining the iconographic and iconometric functions of the images, and asserting that a primary purpose is as a ‘support for practice’ (tib. sku rten, ‘body-support’). Sacred images represent the embodiment of the Buddhas, deities and masters and, once consecrated by lamas, are considered to have the power to confer blessings. Despite the instrumental function of such artefacts, however, it is also possible to identify and delineate a complex Himalayan concept of aesthetics. The text moves on to analyse the effects of the transition of Tibetan Buddhist images into different museological contexts, comparing the display of Tibetan material in the consecrated spaces of Himalayan monastery museums with their exhibition in secular museological sites in the West.

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Markov, Vasil. "Mythological Images of Wood-Carved Royal Doors in Southwestern Bulgaria". Visual Studies 6, nr 1 (28.06.2022): 13–15. http://dx.doi.org/10.54664/nbdj5975.

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Mythological symbols are depicted on wood-carved royal doors, originating from Revival Christian churches in Southwestern Bulgaria. The emphasis is on the images of dragons. The semantics of the symbols is analyzed. Their connection with the topics of fertility and the protection of the sacred space is studied.

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Howells, Christina. "Jean-Luc Nancy and La Peau des images". Body & Society 24, nr 1-2 (5.03.2018): 166–74. http://dx.doi.org/10.1177/1357034x18760179.

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This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.

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Balabushka, Victoria. "CHRISTIAN-SACRAL TRADITIONS OF CHERNIGIV-SIVERSKY REGION". Baltic Journal of Legal and Social Sciences, nr 2 (25.10.2022): 12–16. http://dx.doi.org/10.30525/2592-8813-2022-2-2.

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In the article, from the standpoint of cultural research, there is an attempt to systematize the Christian values of the saints, which formed the basis of the cultural and artistic projects of the architecture of medieval Chernigiv and generalize common European, including Slavic-Ukrainian, distinctive traditions of spiritual heritage. They were formed on the basis of pagan mythology, which was transformed into the Christian spiritual world. It was passed down from generation to generation through oral and written culture, preserved in myths, legends, legends, sermons, chronicles, and the Holy Scriptures. It was spread by members of monastery communities, priests, and pilgrims throughout Ukraine-Rus. The philosophical and Christian spiritual tradition, morality, and culture of Europeans have been preserved up to this day in a sacred form. The Christian- European influences of sacred icon painting art as a new historical stage are considered. The Christian-European influences of monumental stone and masonry architecture are considered a new historical stage, which formed the cult of traditions of common biblical images of mosaic-fresco, icon painting art, and local images of princely dynasties, canonized saints, which also occupy a sacred place in today’s Ukrainian architecture.

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Hautequestt Filho, Genildo Coelho, Alexsandro Rodrigues i Kiusam Regina Oliveira. "Entre o sagrado e o profano: as crianças contam outras histórias de caxambu, flechas, água e escola". Momento - Diálogos em Educação 28, nr 1 (25.04.2019): 26–41. http://dx.doi.org/10.14295/momento.v28i1.8777.

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O artigo tem por objetivo colocar em cena, imagens de crianças em seus entrecruzamentos com o sagrado e o profano, adulto e criança, privado e público. Nesses cruzamentos, vivendo heterotopias de si, as crianças não reivindicam as políticas de inclusão com saberes colonizadores que buscam capturar a raridade da vida. As crianças, o sagrado e o profano em encontro, produzem neste trabalho deslocamentos epistemológicos e fazem como força-convite em seu aparecimento que possamos acolher sua raridade. O artigo se vale de experiências em viagem cruzada pela academia e práticas religiosas que desconfiam da norma e do poder colonizador retroalimentado. Em deslizes teóricos e metodológicos, como aposta política fazemos a convocação para que deixemos que as crianças possam viver uma vida no deslizamento entre o sagrado e o profano. Abstract: This paper aims to put on scene, children’s images between their crosslinks with the sacred and the profane, adult and child, private and public. At these crossing, living their own heterotopias, children don't claim inclusion policies with colonizing knowledge that seek to capture the rarity of life. The children, the sacred and the profane in encounter, produce at this work(paper) epistemological displacement and make as inviting force in their appearance so that we can welcome their rarity. The paper is based on cross-travel experiences by the academy and religious practices that distrust the norm and the colonizer power.In theoretical and methodological sliding as a political bet, we call children to live a life sliding between the sacred and the profane. Keywords: children; sacred, profane Keywords: children; sacred, profane

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Oviedo Salazar, Mauricio. "Among Catalogues, Bindings, and Sacred Economies". Church History and Religious Culture 102, nr 2 (4.07.2022): 222–49. http://dx.doi.org/10.1163/18712428-bja10040.

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Abstract This article centres on the emblem book Jesus en de Ziel, Een Geestelycke Spiegel voor ’t Gemoed, first published in Amsterdam in 1678, with texts and images composed by Jan Luyken. From the time of its first publication, the book was part of the literary devotional life of the Dutch Republic, undergoing numerous editions and reprints, at least until the final decades of the eighteenth century. Using the information provided by Book Sales Catalogues, the article explores different modes in which Jesus en de Ziel was consumed, paying attention to the material conditions under which the object was provided and acquired by the consumer. The emblem book, as a religious object, was constantly reconfigured and mobilized by their manufacturers, their providers, and by the consumers themselves. I argue that these patterns of consumption, elucidated by the catalogues, can make a fundamental contribution for historical and cultural research on religious practices.

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Masłowska, Ewa. "Sakralne i ludyczne symbole szczygła w języku i kulturze". LingVaria 17, nr 1(33) (18.05.2022): 197–213. http://dx.doi.org/10.12797/lv.17.2022.33.12.

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SACRED AND LUDIC SYMBOLS OF A GOLDFINCH IN LANGUAGE AND CULTURE The article is dedicated to symbolic representations of szczygieł (a goldfinch) in Polish language and culture, taking into account the European cultural background. The author presents the process of symbolization of the sacred and ludic profile of a goldfinch as a representative of avifauna based on linguistic data (etymology, phrasematics), text data (literature and folklore), as well as on iconography. References to Western European painting made it possible for the author to present the multiple layers of a goldfinch symbolism and related differences in the way of imaging, developing connotations and conceptualization of symbolic contents. The sacred imagery was dominated by Biblical associations, while in ludic images there was a tendency to present birds as autotelic beings without strictly religious connotations.

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Podoliaka, N. S. "Strategies of Desacralization of Writers by Means of Merch". Anthropological Measurements of Philosophical Research, nr 22 (28.12.2022): 80–89. http://dx.doi.org/10.15802/ampr.v0i22.271334.

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Purpose. The purpose of the research is to outline the strategies of desacralization of writers by means of merch, to determine the positive and negative aspects of the search for new meanings in the reproduction of cult figures. Theoretical basis. The article examines merch as a tool that encourages people to change sacred meanings and ideas about writers as bearers of the sacred for Ukrainians. The source base of the study is the works devoted to the problems of the sacred in philosophical thought, as well as the process of desacralization in art and literature. The peculiarities of the destruction of tendencies regarding the notions in the perception of writers as idols of the nation, the formation and emergence of new meanings regarding sacred figures are highlighted and described. The relevance of this study is due to active searches in business, propaganda, agitation for the use of literary practice, transformation and new contexts of literary idols. Originality. Until now, the change in the processes of sacralization and desacralization of writers by means of merch has not been considered as a reversal of worldview in culture, vectors of changes in the dominants of spirituality in the world picture. It turned out that the metacategory of the sacred has been studied by many scholars, both foreign and domestic, in recent years. The problems of the sacred are in the centre of attention of sociologists, philosophers, literary critics, and culturologists, but merch as a basis for the desacralization of man was not considered in publications in the field of mass communication theory. Scientists considered the worldview vectors of the sacred and desacralization as processes that are inherent not only in postmodernity, but also those that accompanied Ukrainian culture during previous periods. It is determined that the most noticeable manifestations of desacralization are the reproduction of the figure of Kobzar, moreover, in quite unusual and even provocative images of him. However, the majority of Ukrainians positively perceive the updated images of the prophets of the Ukrainian nation and talk about the permanence of their worldview, despite the change and reinterpretation of many years of later development. Conclusions. Conscious desacralization of literary images is gradually gaining momentum. We observe a tendency to positive perception of merch with the figures of T. Shevchenko, I. Franko, H. Skovoroda, Lesia Ukrainka in a new interpretation: during the war, on the barricades – wherever the struggle for Ukrainian statehood is taking place. From the results of the survey it becomes clear that stereotypical perceptions of writers need to be changed, but only if it is an organic fusion with value imperatives, only emphasizes and affirms the spiritual greatness of Man and serves the growth of Ukrainian society and every Ukrainian.

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Collins, William P. "Sacred Mythology and the Bahá’í Faith". Journal of Baha’i Studies 2, nr 4 (1990): 1–15. http://dx.doi.org/10.31581/jbs-2.4.1(1990).

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Myths are metaphors that convey truth about the indescribable through powerful images and experiences. The mythological models synthesized by Joseph Campbell, such as the monomyth with its attendant metaphysical. cosmological, sociological, and psychological purposes, underscore the fundamental unity of human spiritual experience. The Bahá’í Faith employs three significant spiritual verities to fulfil the purposes of myth and to open for all Bahá’í the full depth and range of the world’s mythologies: The unknowable nature of the Ultimate Mystery; the relativity of religious/mythological truth; and the necessity of science and investigation of reality. The Bahá’í Faith also possesses a sacred drama—history as myth—from which the Bahá’í community takes its signposts for individual and collective development. All of these aspects of Bahá’í mythology are the basis for a coherent mythological landscape through which each human being must travel. The mythological universe created by Bahá’u’lláh frees the soul to experience and understand all mythologies, to explore and be awed by the physical universe understood by science and reason, and to undertake the universal adventure through which all may become fully human.

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Zhukov, Vladislav, i Anastasia Smirnova. "Morphology images of visual-cognitive character of dynamical system information". E3S Web of Conferences 244 (2021): 05030. http://dx.doi.org/10.1051/e3sconf/202124405030.

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The study of images of bladed-edged weapons, which allowed to design a paryura, was carried out. To create images of design objects –parures represented by visual-symbolic cognitive information dynamic systems (VKIDS) with locally stable structures (LUS) in the development of cognitive technologies of plastic arts and design, the methods of linguistic-combinatorial and tabular modelling were used. RESULTS: the study of morphology, colourists, eidos, and concept in the creation of images of design objects-jewellery associated with the main symbolized elements of state and social policy management, represented by images of sacred, astral cosmogony, and cosmology.

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R., Frankiv, i Khadzhynov V. "NEW ROME, AS AN IDEAL HIERATOPY, IN THE GALICIAN SACRED ARCHITECTURE OF THE INDEPENDENCE AGE". Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, nr 2 (listopad 2020): 204–11. http://dx.doi.org/10.23939/sa2020.02.204.

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The aim of the article is to reveal the tendency to use images of the Constantinople capital's architecture in the projects of sacred buildings in Galicia at the beginning of the XXI century. Under the hieratopy of New Rome means the special status of Constantinople - the sacred center of the World Christian (Roman) State. After the fall of Constantinople, the image of New Rome became available for reproduction in previously remote corners of the Byzantine world, including in the construction of the identities of certain modern nations formed in the nineteenth century. It is underlined that the hieratopy of New Rome became an important part of Ukrainian identity searching within the sacred architecture of Galicia. It is determined that in varying degrees, it was characteristic of the search for a national manifestation both in the period of the turn of the XIX - XX centuries, and of the Independence period in the turn of the XX - XXI centuries. It is determined that for this last period, an important factor was the significant improvement of relations between the Western (Latin) and Eastern (Orthodox) churches, the rehabilitation of Eastern traditions in Roman Catholic discourse. Also the article shows examples of a number of buildings, which testify to different variants of architecture work of sacred buildings in Galicia (West Ukraine) with images of hieratopia of New Rome. Furthermore is given a ways in which it fits into the existing stereotypes of architectural manifestation of Ukrainian national identity and symbolism, as well as manifestations of Ukrainian national identity.

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Ibrahim, Yasmin. "Facebook and the Napalm Girl: Reframing the Iconic as Pornographic". Social Media + Society 3, nr 4 (październik 2017): 205630511774314. http://dx.doi.org/10.1177/2056305117743140.

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Facebook’s banning of the photo of the iconic Napalm Girl before it was reinstated due to public criticism of the social networking facility was a symbolic and material act of incursion on the sacred. It underscored the prowess of the technology firm as a platform for content sharing from breaking news to banal images where millions of images are shared and integrated through networked relationships and its circulation economy, re-framing and re-configuring social memory, history and morality. More importantly, it asserted the “technological gaze” of Facebook where its system of managing content can turn the sacred into puerile and the puerile into popular entertainment, flattening, and re-mapping content through its own moral sensibilities. This Facebook economy imposes its own morality through its “technological gaze,” and in the process thwarts our “projects of memory” opening up wider ethical challenges for society and humanity.

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