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Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Jesus Christ Art".
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Artigos de revistas sobre o assunto "Jesus Christ Art":
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Pozdnyakova, D. Y. "Coptic Christian Symbolism in Art as a Problem of Cultural Studies". MGIMO Review of International Relations, n.º 3(30) (28 de junho de 2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.
In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus
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Badriah Mohamed Abdullah Alfozan, Badriah Mohamed Abdullah Alfozan. "Monotheism among the Christians its concept and Creed implications(Critical Study)". journal of king abdulaziz university arts and humanities 26, n.º 3 (3 de março de 2018): 47–75. http://dx.doi.org/10.4197/art.26-3.3.
Jesus was mentioned in the Holy Quran as considering God as one, God as his Lord and ordered to worship God only. However, some Christians who believed in Jesus Christ as Prophet and denied him as being Son of God or one of the Three Gods; an evidence of the depravity of the Creed of most Christians and its perversity of Jesus Message, and a reply to the followers of the three large parties (Royalism, Nestorianism and Jacobitism) in Triangulation, and the study of the Christians attitude on Monotheism throughout ages and their switch to Triangulation and notification of the invalidation of their saying of the godhead of Jesus; features the importance of this research [Monotheism among the Christians its concept and Creed implications (Critical Study)]. We will tackle here the concept of Monotheism as seen by Christians, and Monotheism after Jesus, Peace be Upon him, was lifted, the stages of Monotheism in the Christian history and texts of the Holy Book and the proof of Monotheism Creed to the Almighty God and the reply to it.
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Wibowo, Wahju Satria. "Yesus Sejarah atau Kristus Iman?: Historisitas Iman dan Karya Allah dalam Yesus Kristus". GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 6, n.º 1 (30 de abril de 2021): 51. http://dx.doi.org/10.21460/gema.2021.61.631.
Abstract There has always been a tension between Jesus of History and Christ of Faith. The figure of Jesus and the faith in Him as Christ are historical. History is a space to bring together both. Without Jesus of History, Christian faith is empty. Similarly, without the faith of the first Christian community, the figure of Jesus is nothing. The historicity of Jesus stands along with the historicity of faith in Him. Of course, above all is God’s work in history. On the one hand, using the research and discussion of the historical Jesus, this article shows that archaeological findings should influence Christianity to reconstruct faith, and reflects that history is a medium for God’s work. On the other hand, using some other writings this article shows that the work of God in history is the art of God’s entrepreneurship, including God’s work in Jesus Christ. Incarnational theology is based on the historical figure, Jesus of Nazareth.
Abstrak Selalu ada ketegangan antara Yesus Sejarah dan Kristus Iman. Keduanya ada dalam sejarah manusia. Sosok Yesus dan iman kepada-Nya sebagai Kristus ada dalam sejarah. Sejarah adalah ruang untuk mempertemukan keduanya. Tanpa Yesus Sejarah, iman Kristen kosong. Di sisi lain, tanpa iman komunitas Kristiani pertama, sosok Yesus menjadi tidak terlalu penting. Historisitas Yesus berada bersama dengan historisitas iman kepada-Nya. Tentu saja, di atas segalanya ada karya Allah dalam sejarah. Dengan menggunakan penelitian dan pembahasan Yesus Sejarah, artikel ini membahas bahwa temuan Yesus Sejarah seharusnya memengaruhi kekristenan untuk membangun kembali iman, dan lalu akan merefl eksikan bahwa sejarah adalah media untuk pekerjaan Allah. Di sisi lain, dengan menggunakan beberapa tulisan lain artikel ini menunjukkan bahwa karya Allah dalam sejarah adalah “seni kewirausahaan Allah”, termasuk karya Allah dalam Yesus Kristus. Teologi inkarnasional didasarkan pada tokoh sejarah, Yesus dari Nazaret.
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Bussieres, Marie-Pierre. "A Twenty-First-Century Gospel: Jesus at the Vatican in Paolo Sorrentino’s The Young Pope". Journal of Religion and Popular Culture 32, n.º 3 (1 de janeiro de 2021): 204–18. http://dx.doi.org/10.3138/jrpc.2018-0005.
Paolo Sorrentino called his series The Young Pope “a thriller of the soul.” In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that conservatism is equally present with liberalism in its message.
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Albright, Thomas D. "The Veiled Christ of Cappella Sansevero: On Art, Vision and Reality". Leonardo 46, n.º 1 (fevereiro de 2013): 19–23. http://dx.doi.org/10.1162/leon_a_00479.
A celebrated marble sculpture of the body of Jesus, known as Cristo Velato (Veiled Christ), by the 18th-century Neapolitan artist Giuseppe Sanmartino offers a dramatic demonstration of art as all-encompassing illusion. As such, Sanmartino's masterpiece provides a rare opportunity to deconstruct a multifaceted and richly deceptive perceptual experience into a collection of simple sensory elements. This analysis both yields insights into the visual tools of the artist and reveals how an empirical understanding of sensory processes can illuminate complex perceptual experiences.
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Buettner, Jamie. "Embracing Jesus: Mystical Union with Christ in Seventeenth-century Art and Imagination". International Journal of Religion and Spirituality in Society 3, n.º 4 (2014): 13–27. http://dx.doi.org/10.18848/2154-8633/cgp/v03i04/51070.
Gamba, Ezio. "Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik". Zeitschrift für Religions- und Geistesgeschichte 62, n.º 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.
AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?
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Citlak, Amadeusz. "Psychobiography of Jesus Christ in view of Władysław Witwicki’s theory of cratism". Journal for Perspectives of Economic Political and Social Integration 21, n.º 1-2 (1 de dezembro de 2015): 155–84. http://dx.doi.org/10.2478/pepsi-2015-0007.
Abstract The article is an attempt at a critical evaluation of applying one of the most original theories of Polish psychology, i.e. W. Witwicki’s theory of cratism, to the interpretation of the activities and personality of Jesus Christ. The theory of cratism, though it provides substantial explanation possibilities, has been largely forgotten. W. Witwicki used it to try to interpret many aspects of human activity such as art, social relations, as well as the life of ancient figures, among others, Socrates and Jesus Christ. Thanks to this, he created the first ever in Polish psychology (and also one of the first in world psychology) psychobiography. The proposal to decipher the activity of Jesus of Nazareth through Witwicki, however, raises large concerns, which discouraged many psychologists, and especially religious environments. I would like to indicate the most controversial moments of his work, while drawing attention to the great value of the theory itself also today, at the beginning of the 21st century, particularly in the area of historical psychology.
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Vogt, Peter. ""Honor to the Side": The Adoration of the Side Wound of Jesus in Eighteenth-Century Mordvian Piety". Journal of Moravian History 7, n.º 1 (2009): 83–106. http://dx.doi.org/10.2307/41179862.
Abstract The wounded side of Jesus Christ played an important role in the theology and devotional life of the eighteenth-century Moravian community. The adoration of the side wound manifested itself in various ways, ranging from hymnody and preaching to graphic art and ceremonial installations. In the context of a theology of the atonement, the wounded side of Christ signified a place of refuge, an opening out of which the church was "born," and an eschatological token by which Christ will be recognized at the time of his second coming. The Moravians expressed these ideas in a peculiar language that contemporaries often found shocking and that continues to be a puzzling phenomenon for modern scholarship. Especially the description of the side wound as a place of giving birth has given rise to controversial theories about abnormal sexual practices and concepts of gender. At the same time it has become increasingly clear that the Moravian devotion to the side wound must be considered in the context of a larger tradition of side wound piety, going back to early and medieval Christianity and also present in Renaissance art and Lutheran hymnody.
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Atwood, Craig D. "Little Side Holes: Moravian Devotional Cards of the Mid-Eighteenth Century". Journal of Moravian History 6, n.º 1 (2009): 61–75. http://dx.doi.org/10.2307/41179848.
Abstract One of the more intriguing types of eighteenth-century Moravian art were small devotional cards. These side-hole cards (Seitenhöhlchenkarten) offer a distinctly Moravian reworking of a medieval iconographic tradition. Most of these cards have verses about the side wound of Jesus written in beautiful calligraphy, sometimes in red and green ink. The most intriguing cards have images of the side wound, sometimes with scenes painted into the wound. Aaron Fogleman offered these pictures as evidence for his thesis that the Moravians viewed Jesus as female and considers them as part of their eroticized devotion to Christ. The author of this essay argues that this is a misinterpretation. These cards were probably used by both children and adults in private devotions and are hardly erotic. Rather, they are visual representations of key elements of Moravian wounds mysticism, especially the concept that all aspects of daily life, even eating and sleeping, should be done in the awareness that one is in the body of Christ.
Teses / dissertações sobre o assunto "Jesus Christ Art":
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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.
Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.
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Kinman, Brent Rogers. "Kingdom, Christology, and narrative art in Luke 8:22-39". Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
Heger, Mary Anise. "One cross, two painters the theology of the cross from an art-historic perspective /". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
Rye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Schlichtenmaier, Bert. "Die Passionsikonographie in der bildenden Kunst des 19. und frühen 20. Jahrhunderts". Tübingen : Eigenverlag Bert Schlichtenmaier, 1987. http://catalog.hathitrust.org/api/volumes/oclc/28097793.html.
Jefferson, Lee M. "The image of Christ the miracle worker in early Christian art". Diss., Freely available online, 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-09052008-145010/.
Bent, Zackery R. "Dropping the ball and other common dilemmas : a study of the post-resurrection relationship of Christ and humanity". Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286396.
In the Western tradition and beyond, there is a long history of art that has sought to describe and present Jesus of Nazareth from a historical and documentary perspective. The challenge I endeavor is to express the coexistence of the seen and unseen world in the present.As a Christian and an artist this project is an effort to see a marriage between my creative process and my spiritual ethos. My hope in this project is to engage a diverse audience and challenge its perspectives on the merging of faith and art. Department of Art
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Coffey, Rosemary A. "Man of sorrows of Giovanni Bellini sources and significance /". Champaign, Ill. : Estate of Rosemary Coffey, 1988. http://catalog.hathitrust.org/api/volumes/oclc/21829626.html.
Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.
Thesis (M.A.)--West Virginia University, 2001. Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).
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Haller, Jeffrey. "The image of the unseen God contextual relevance in the visual portrayal of Christ /". Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
Capítulos de livros sobre o assunto "Jesus Christ Art":
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Gill, Sean. "Ecce Homo: Representations of Christ as the Model of Masculinity in Victorian Art and Lives of Jesus". In Masculinity and Spirituality in Victorian Culture, 164–78. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230294165_12.
Yexin, sha. "Jesus, Confucius, and John Lennon: Act I*". In The Chinese Face of Jesus Christ: Volume 3b, 1690–702. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315086934-42.
Davidoff, Leonore, e Catherine Hall. "'Ye are all one in Christ Jesus': men, women and religion". In Family Fortunes, 107–48. 3rd edition. | Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315157610-5.
"Narratives of Jesus Christ and His Mother, Mary, in Christian Art". In A Guide to Christian Art. T&t Clark, 2020. http://dx.doi.org/10.5040/9780567685155.ch-002.
Givens, John. "The Image of Christ and Russian Literature". In The Image of Christ in Russian Literature, 3–15. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9780875807799.003.0001.
This introductory chapter reveals Russia's anxiety over its Christian heritage—specifically, its anxiety over the meaning and significance of Jesus Christ. Russian literature of the past two hundred plus years is as secular as any of the literatures of its European neighbors. And yet, at the same time, like European literature, Russian literature was nurtured and developed in a culture whose art, spirituality, and thought were dominated for centuries by the image of Jesus and the beliefs and practices of the Christian faith. Indeed, as far as Russian literature is concerned, one may even argue that in its earliest forms—numerous sermons and saints' lives—there was no literature without Jesus, for these works dealt with little else than living in accordance with the words and deeds of Christ. As such, this chapter explores the context behind the anxieties of nineteenth-century Russian writers toward Christ.
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"“Kiss the Feet of the Infant Jesus”: The Emotional Efficacy of Early Christ Child Sculptures in Europe and Beyond". In Emotions, Art, and Christianity in the Transatlantic World, 1450–1800, 247–79. BRILL, 2021. http://dx.doi.org/10.1163/9789004464681_008.
"“Far Be It from Me to Glory Save in the Cross of Our Lord Jesus Christ” (Galatians 6:14): Crusade Preaching and Sermons for Good Friday and Holy Week". In Crusading in Art, Thought and Will, 127–65. BRILL, 2018. http://dx.doi.org/10.1163/9789004386136_007.
A view of the nature of Jesus Christ that rises to the level of full Christian orthodoxy, as expressed in such creeds and definitions as the Apostles’ Creed, and the statements of Nicea, and Chalcedon, cannot be responsibly derived from the New Testament if the constraints of modern historical criticism are obeyed. But robust and faithful views of the nature of Christ may be read from the New Testament, and even from the Old Testament, when the text is interpreted via lenses of creative, Christian interpretation, led by the holy spirit, and interpreted with the guidance of love. Moreover, though constructions of “the historical Jesus” may be used for theological reflection, the Jesus of Christian faith is the Christ of Christian creed and confessions, not the Jesus of modern historical research and construction.
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Dixon, Thomas. "Egomania". In The Invention of Altruism. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264263.003.0009.
This chapter surveys varieties of post-Victorian moral thought at the turn of the century, as exemplified in the individualistic, egoistic, and aesthetic philosophies of Oscar Wilde, Friedrich Nietzsche and his British followers, and G. E. Moore. All of these new philosophies involved radical redefinitions and revaluations of altruism and marked the beginnings of a post-Victorian ‘egomania’, which looked for ways to escape from the dull and cloying cult of sentimental selflessness that characterized high Victorian moralism. Wilde mocked the idea of living for others and instead celebrated Jesus Christ as the first and greatest of all individualists. Nietzsche and his British admirers waged war on Christian pity and Spencerian altruism as different varieties of a single decadent value-system. G. E. Moore used analytic philosophy to articulate and justify a neo-pagan ethics of art and emotion.
Trabalhos de conferências sobre o assunto "Jesus Christ Art":
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Leopaci, Juliana Do Amaral, Mariah Boelsums e Fernanda Bredariol. "Restoration of polychrome wood sculpture: a case study with highly weakened polychrome". In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13579.
This article presents a case study of a polychrome wood carving sculpture representing Jesus Christ crucified. The piece belongs to the Chapel of Nossa Senhora da Glória, located in the district of Ressaca/Carandaí, Minas Gerais, Brazil. It was in a poor state of conservation, especially the very fragile polychrome, impairing the work. legibility. From the analysis of the state of conservation of the object, four important points were considered to support the proposed treatment: stability, reversibility, aesthetic legibility, and the potential oneness conceptualized by Cesare Brandi, which aimed at the stability of the material that would guarantee the potential oneness of the work without creating a historical and artistic falsehood. These points are directly linked to the modern techniques and resources used, as well as the intention to maintain the integrity and authenticity of the work. The entire polychrome process was of great importance to acquire its stability, due to the presence of four types of lacunae. Lastly, the chromatic reintegration, in which the pointillism technique was used, aimed to be distinguishable from the pictorial layer of the work. Therefore, this study aims to present the restoration process of a polychrome wood sculpture and, mainly, to demonstrate the importance of chromatic reintegration to insert and ensure aesthetic legibility and a potential oneness of the work.
