Relevant bibliographies by topics / Christian art and symbolism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Christian art and symbolism'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Christian art and symbolism"

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OSTASHCHUK, Ivan, Keyan LIANG, Svitlana KHRYPKO, et al. "Floral Symbolism in Ukrainian Temple Art." WISDOM 28, no. 4 (2023): 70–78. http://dx.doi.org/10.24234/wisdom.v28i4.1042.

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The origins of the formation of plant symbolism in Christian temple art have been investigated, particularly on the example of the texts of the Holy Bible. The primary connotations of the garden’s symbolism in Christian sacral art are analyzed as an expression of the idea of a lost paradise, contemplation of the images of which is possible in the space of temples. Plant symbolism is revealed in the holistic art systems of the Sophia of Kyiv and St. Cyril’s Church in Kyiv. The fundamental values of plant symbolism in St. Sophia’s Cathedral and St. Cyril’s Church are highlighted by the idea of t
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Panjinda, Wipawee. "The Importance of Thai Christian Art: An Analysis of Three Artists and Their Impact on Society." International Bulletin of Mission Research 48, no. 1 (2024): 76–89. http://dx.doi.org/10.1177/23969393231204225.

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In this article, three differing approaches to faith representation will be presented. Sawai Chinnawong uses a traditional Thai art form, while Arnan Moontrakorn utilizes an amalgamated approach to Thai and Modern art. Jompol Puatawee, while using Thai imagery in his contemporary art style, does not reference traditional symbols. The artists featured, while all representing their Christian faith, do not use obvious Christian symbolism. As this article shows, Thai Christians can accept Thai traditional art as a useful medium for presenting Christian ideas, and these works of art are understood
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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description
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Ross, David A. "The Art of the Faithful Heart: A Comparison of Classical Christian and Islamic Art Traditions." Bible Translator 74, no. 3 (2023): 366–414. http://dx.doi.org/10.1177/20516770231220040.

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When a translation of a text is complete, the presentation of the text should, as much as possible, avoid any influence that could reduce the impact or acceptability of the contents of the text. This is especially true of faith-critical texts, whether they are of Christian or Islamic origin. The study and comparison of different art traditions can help us reduce the possibility of such unfortunate influences. Since Christians and Muslims have very different assumptions even about the nature of God (or Allah) as he reveals himself through sacred writings, it is not surprising that Christians an
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Kuvatova, Valeria. "SYMBOLISM OF EARLY CHRISTIAN PRAYERS IN ROMAN, GREEK AND EGYPTIAN FUNERARY ART." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 177. http://dx.doi.org/10.31857/s086919080029093-9.

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The question of semantic connections between Early Christian funerary art and texts of Early Christian prayer for the dead – Ordo commendationis animae – remains controversial. Some scholars endorse the idea that iconographic programs of Roman catacombs and Early Christian sarcophagy can be traced back to the prayer. Others highlight the distinctions between them, emphasizing, that the oldest text of the Ordo commendationis animae cannot be dated earlier than the 4th century. Both the prayer and the funerary art embody the same themes of salvation and resurrection, often depicted through share
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Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.

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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping s
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Pozdnyakov, E. V. "Philosophical and Aesthetic Components of the Art of the Baroque Style." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.

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In this paper considers the impact of the historical process of the formation of the Counter- Reformation in the philosophical views of aesthetic expression, symbolism and personification of the Christian temple art of the Baroque
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Bugaev, Vasily Ivanovich. "V.S. Solovyov’s characters of Christian ideal in the humanization process of Russian artistic education." Samara Journal of Science 5, no. 2 (2016): 146–49. http://dx.doi.org/10.17816/snv20162302.

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The article explores the development of Russian culture and education symbolism at the end of ХІХ in a question about Filioque. The prominent Russian thinker V. Solovyov considered that the unity of spirituality of Christian ideal faith was carried out in the unity of catholic and orthodox Christian churches. He doubted the question of division of Character of Vera perception. V. Solovyov notified the ideal of iconographic art, which was fundamental conception of development of Russian artistic culture and education. Semantic Christian character-kernel is an interpretation of our Hail Mary for
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Beskov, Andrey. "Russian rock music: “Orthodox art”, new religion or “lovely paganism”?" Культура и искусство, no. 6 (June 2020): 10–28. http://dx.doi.org/10.7256/2454-0625.2020.6.31675.

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This article is dedicated to examination of the art of several famous Russian rock bands, which leaders have repeatedly declared their religiosity and to some extent are engaged in missionary activity of the Russian Orthodox Church. The author covers the questions whether it is appropriate to attribute the art of such rock bands to the genre of “Christian rock”, and do the rock musicians contribute to popularization of Orthodox doctrine and churching of their fans, or rather to desecration of religious values and ideals. For solution of the set tasks, the author analyzed so
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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek c
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Dissertations / Theses on the topic "Christian art and symbolism"

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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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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.

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Thesis (M.A.)--West Virginia University, 2001.<br>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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Munk, Ana. "Pallid corpses in golden coffins : relics, reliquaries, and the art of relic cults in the Adriatic Rim /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6213.

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Crosby, Nancy A. "Shifting reality /." Online version of thesis, 1992. http://hdl.handle.net/1850/11760.

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Schaik, Marinus Jan Hendrikus van. "De harp in de Middeleeuwen studies naar de symboliek van een muziekinstrument = Die Harfe im Mittelalter : Studien zur Symbolik eines Musikinstruments /." Utrecht : M.J.H. van Schaik, 1988. http://books.google.com/books?id=oo9GAAAAMAAJ.

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Morgan, David. "The origin and use of compositional geometry in Christian painting /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Ch
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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.

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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation,
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Sorrels, Charles. "Cullet /." Online version of thesis, 1993. http://hdl.handle.net/1850/11257.

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Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and th
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Forrest, Matthew. "Iconography profiles." Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5698.

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Thesis (M.F.A.)--West Virginia University, 2008.<br>Title from document title page. Document formatted into pages; contains v, 29 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 11).
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Books on the topic "Christian art and symbolism"

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Fernando, Winitha. Christian art. Fernando Publishers, 2008.

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Fernando, Winitha. Christian art. Fernando Publishers, 2008.

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Borchgrave, Helen De. A journey into Christian art. Fortress Press, 2000.

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Borchgrave, Helen De. A journey into Christian art. Lion Pub., 1999.

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Malta) Biennale of Christian Art (4th 2002 Mdina. Contemporary Christian art: Malta 2002 : the Fourth Biennale of Christian Art. Edited by Borg Vincent and Cathedral Museum (Mdina Malta). Cathedral Museum Publications, 2002.

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Medieval Europe Brugge Conference (1997). Art and symbolism in medieval Europe. Instituut voor het Archeologisch Patrimonium, 1997.

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Bridger, Nicholas J. Christian art and African modernity. Galda Verlag, 2020.

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Dillenberger, Jane. Style and content in Christian art. SCM, 1986.

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Mortonson, Kenneth. The Advent instructor: Reflections on Christmas symbolism. CSS Pub. Co, 1995.

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Michelle, Brown, and Avery Victoria, eds. The Lion companion to Christian art. Lion, 2008.

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Book chapters on the topic "Christian art and symbolism"

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Jensen, Robin M. "Early Christian Symbols." In Understanding Early Christian Art, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003216094-2.

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Cocco, Christelle, Zhargalma Dandarova-Robert, and Pierre-Yves Brandt. "Automated Colour Identification and Quantification in Children’s Drawings of God." In When Children Draw Gods. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_8.

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AbstractColour is still a relatively neglected aspect in the study both of religious art and of children’s artistic expression of the divine. Our research addresses this important gap and adds to psychological research on religious representations and conceptualization of the divine. From drawings collected in four different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian-Slavic (Christian Orthodoxy) and French-speaking Swiss (Catholic and reformed Christianity) we show that children often imagine and depict god using the same colours: primarily yellow and blue. Apparently, god is often imagined by children as light or in light (yellow) and dwelling in the sky (blue). These results parallel historical and religious studies showing that the light enjoys prominent and most powerful symbolism and association with the divine. Complementary analysis of possible effect of child’s age, gender, and schooling (religious or regular) did not affect the main result. This research also introduced a novel approach to data analysis by using computer vision in psychological studies of children’s drawings. The automated colour identification method was developed to extract colours from scans of drawings. Despite some difficulties, this new methodology opens an interesting avenue for future research in children’s drawings and visual art.
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Falcasantos, Rebecca Stephens. "Christian religious symbolism and pilgrimage." In Routledge Handbook on Jerusalem. Routledge, 2018. http://dx.doi.org/10.4324/9781315676517-25.

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Müller, Maya. "Iconography and Symbolism." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch5.

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Shklovskii, Viktor. "Art as Technique." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-008.

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Burns, Leland S., and John Friedmann. "Budgetary Symbolism and Fiscal Planning." In The Art of Planning. Springer US, 1985. http://dx.doi.org/10.1007/978-1-4613-2505-5_15.

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Jensen, Robin M. "Art." In The Early Christian World. Routledge, 2017. http://dx.doi.org/10.4324/9781315165837-35.

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Couzin, Robert. "“Early” “Christian” “Art”." In The Routledge Handbook of Early Christian Art. Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-23.

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Leicester, Jonathan. "Symbolism." In What Beliefs Are Made From. BENTHAM SCIENCE PUBLISHERS, 2016. http://dx.doi.org/10.2174/9781681082639116010015.

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Symbols are things that people (or animals) have learned refer to or stand for something else. They are the basis of nonverbal communication in animals. Humans use symbols that relate to in-group psychology, loyalty, power, and remembrance. Such symbols often have a strong emotional charge, and may lead to overvalued or mistaken beliefs and magical thinking. Graves, flags, and the Christian Eucharist are examples. Some symbols are private and personal. Some symbols are unrecognized and exert their influence through unconscious processes. Other human symbols relate to the new function of language and do not have the same emotional power. Some evidence is presented that symbols work by an ‘as if’ mechanism, using some of the same neural circuits that the thing symbolized uses. People can think in symbols, for example, a sentence can use the word dog without either the speaker or the listener having a mental image of a dog.
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Sabau, Isabelle. "The Power of Symbolism in Byzantine Art." In The Paideia Archive: Twentieth World Congress of Philosophy. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia1998123.

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Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.
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Conference papers on the topic "Christian art and symbolism"

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Breviario, Álaze Gabriel do. "The teachings of Jehovah's witnesses: A bibliographical and narrative documentary review." In V Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvmulti2024-185.

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As another neo-Christian religious movement, the religious organization of Jehovah's Witnesses has exclusivist, proselytizing, millenarian, non-creationist, non-trinitarian, politically neutral teachings and practices and claims to accept scientific discoveries based on evidence, although in practice they do not. This work aims to present and discuss the main teachings of Jehovah's Witnesses, as a member of this religious organization, baptized more than 15 years ago. To this end, it carries out a bibliographical and narrative documentary review, under the Giftedean neoperspectivist paradigm.
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Pariláková, Eva. "The mystical meaning of the table in contemporary art. Reinterpretation of the language of giving and receiving." In The Figurativeness of the Language of Mystical Experience. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-23.

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The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky
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Голофаст, Л. А. "CHRISTIANITY IN PHANAGORIA. ARCHAEOLOGICAL EVIDENCE." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-381-7.69-106.

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Крайняя малочисленность связанных с христианством находок и их неравномерное распределение во времени создает значительные трудности при восстановлении истории Фанагорийской христианской общины. Восполнить лакуны до некоторой степени помогают имеющиеся сведения об истории христианства в других центрах Северо-Восточного Причерноморья, неотъемлемой частью которого являлась Фанагория. Несомненно, новая религия проникает в Фанагорию, как и в другие центры Боспорского царства, в последней четверти 3 в. из Малой Азии, откуда готы, возвращаясь из своих пиратских набегов, привозили пленных христиан. И
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Hu, Xiaoming. "Is Takashi Murakami’s Art an Exploration of Symbolism?" In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.101.

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Masolova, E. A., and T. B. Ganicheva. "Christian Calendar and Symbolism of Numbers in the Late Literary Prose of Leo Tolstoy." In Proceedings of the Internation Conference on "Humanities and Social Sciences: Novations, Problems, Prospects" (HSSNPP 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/hssnpp-19.2019.47.

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Moiseenko, Marina. "Phenomenon of Christian Art Through the Prism of Ancient Russian Art." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.3.

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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.

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Zheng, Dan. "An Analysis of Symbolism in The Scarlet Letter." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.84.

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JORDÁN, Régulo Franco. "Art, symbolism and power in Moche Society, North Coast of Peru." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-001.

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Tierraseca, Mónica. "Tracing the absent. Hilma af Klint’s mystical language." In The Figurativeness of the Language of Mystical Experience. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-22.

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The main aim of this paper is to study the mysticism of the Swedish artist Hilma af Klint (1862–1944) in relation to her religious experience and her searching for existential answers through contact with divine entities. Although the identity of these figures is not clear, we are aware of their familiarity with Christian beliefs. Thus, in this paper we attempt to approach Af Klint’s Christian, metaphysical and anthroposophical message by analysing her notebooks. Particularly, we focus on the symbolic aspect of one of them made between 1919 and 1920, entitled Flowers, Mosses, and Lichens.
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Reports on the topic "Christian art and symbolism"

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Варданян, Марина Володимирівна. The sphere of “The Self” concept: thematic horizons in literary works for children and youth of Ukrainian Diaspora writers. Lulu Press, 2017. http://dx.doi.org/10.31812/0564/1672.

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The article deals with the leading issues in the children's literature of the Ukrainian Diaspora writers. Among the key themes are the following such as historical, patriotic, religious and Christian topics, which are considered through the image of “The Self”. This concept includes the image of the Motherland, historically native land, prominent figures (Taras Shevchenko, hetmans of Ukraine), the family line, national symbols (the flag, the trident) and religious and Christian symbols (the church, the blessing). The idea of preserving the cultural identity and the national identity of Ukraini
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