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Dissertations / Theses on the topic 'Christian art and synbolism'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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1

Gustafsson, Daniel. "A philosophy of Christian art." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8052/.

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This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. Above all, Christian art is made, received and loved as part of our calling to grow in the divine likeness. In presenting this vision, the thesis breaks new ground, and not only makes significant contributions to analytic and theological aesthetics, but also offers material with implications for philosophy and theology more widely.

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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.

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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.

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McDonald, David L. "The art of financial stewardship consultation." Theological Research Exchange Network (TREN) Access this title online Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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4

Allen, Susanne Bostick. "Christian Diet Books| Thinning, Not Sinning." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118622.

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All women, including Christian women, are susceptible to the diet industry’s selling of thin bodies as a commodity and media portrayals of thin women as desirable and successful. Overall, diet books are the most popular category of nonfiction, worth over $1.2 billion annually as of 2005. Evangelical Christian women believe they are obeying God’s will when they follow a Christian diet, but in reality they are subscribing to and perpetuating the prevailing American culture of thinness. The popularity of Christian diet books began in post-World War II America and continues today. They propose to solve the problem of women’s dissatisfaction with their bodies by offering diets based on Biblical teachings and Christian beliefs. This paper examines five Christian diet books published between 1957 and 2013: Pray Your Weight Away; First Place; The Weigh Down Diet; What Would Jesus Eat? The Ultimate Program for Eating Well, Feeling Great, and Living Longer; and The Daniel Plan: 40 Days to a Healthier Life. As long as the culture of thinness is an integral part of American society, there will be a market for diet books, and among evangelical Christian women for Christian diet books. This phenomenon is pernicious because it damages women’s self-assurance and alters their beliefs about the way they appear to the world.

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Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.

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In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.

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6

Nail, Brian W. "Models of sacrifice and the art of Christian tragedy." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3183/.

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This thesis is a literary investigation of sacrifice in works of tragic literature and the Bible. In Part I, this thesis critiques René Girard’s scapegoating model of sacrifice and demonstrates the interpretive limitations that his theory of sacrifice imposes upon works of tragic literature and the Bible. In the first chapter, this thesis examines Eurpides’ play The Bacchae. Contrary to Girard’s assessment of works of classical Greek tragedy as texts that come to the defense of the tragic victim, I argue that this play participates in an elaborate re-mystification of scapegoating. Next, I conduct a tragic reading of the first twelve chapters of Exodus—focusing specifically on the birth of Moses and the story of the Passover. Contrary to a Girardian reading which simplifies the conflicts in Exodus to an irreducible opposition between Egypt and Israel, a tragic reading of the biblical narrative reveals a much more complex relationship between these groups. Using Christopher Fry’s play The Firstborn as a literary framework for investigating the biblical narrative, I read Moses as a tragic figure who struggles to come to grips with his own identity as a man raised by Egyptians and yet born an Israelite. Most importantly, Fry’s play dramatically highlights the sacrificial costs of the Israelites’ deliverance in Exodus—namely the infanticidal genocide of the firstborn of Egypt. In Part II of this study, I describe an alternative to Girard’s model of sacrifice which appears in the Gospel of Mark as well as in the work of Flannery O’Connor. In my reading of the Gospel of Mark as a work of Christian tragedy, I argue that at the Last Supper Jesus poetically improvises a model of eucharistic sacrifice that radically reconfigures the relationship between humans and the divine. According to this eucharistic model of sacrifice, the sacred is configured within the very materials of artistic representation. Consequently, the Jesus of Mark’s Gospel not only transfigures the opposition between oppressors and the oppressed but most importantly the opposition between the sacred and the profane. This study concludes with an investigation of the Catholic writer Flannery O’Connor. Through a close reading of "A Good Man Is Hard to Find" and Wise Blood, I argue that O’Connor’s work employs a model of eucharistic sacrifice to bring about a moment of transfiguration that defies interpretive closure. Finally, this thesis argues that by exploring this eucharistic model of sacrifice it may be possible to conceive of new approaches to imagining the relationship between readers, texts and the sacred.

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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.

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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.

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Fung, Nok-kan Nicole, and 馮諾勤. "Christian faith in the art of Wu Li (1632-1718)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199497.

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Wu Li 吳歷 (1632-1718) was an early Qing scholar artist who dedicated half his lifetime to religious pursuits. He was not only one of the many Chinese Christian converts in the seventeenth century, but one of the few early Chinese Jesuit priests. He was part of the educated elite community in Changshu, where foreign Catholic priests would visit and stay. Although Wu Li was exposed to Christianity at an early age, it was only when he was around forty sui that he turned to Christianity, possibly prompted after the deaths of close friends and family. Thereafter, he assisted European missionaries for a few years before leaving home to study in the Roman Catholic Diocese of Macao. On becoming a priest, he dedicated all his efforts in spreading his faith, and to take care of the Christian communities in Shanghai and Jiading. Throughout his priesthood, Wu Li continued with his scholarly practices including painting and poetry. It is in his poetry where elements of his Christian faith are most pronounced and there have been numerous research efforts focusing on this area of his m?tier. In contrast, current scholarship seldom examines the role of his faith in painting, and when there are interests, the tendency is to focus on the tension between his training in the Chinese literati painting tradition and his exposure to imported western artifacts. The predominant conclusion is that, as a painter, Wu was not influenced by western styles and elements, and maintained his status as an orthodox style painter. However, given Wu’s dedication to the church, his many poems on the Christian faith, and the close connection between poetry and painting, it is unlikely that Wu’s paintings remained untouched. This thesis unveils how Christianity, which had taken a new form in China and had captured the attention of the scholar-elite class, directed Wu Li’s approach to life, shaped his perception of nature, and, as I will show, inspired new ways of painting landscapes. I will scrutinize the Christian environment in seventeenth century China and within Wu Li’s immediate circles, and use the lens of religion to enrich a more nuance reading of Wu’s pictorial language. One of the key ways of breaking new investigative ground is to consider the function of paintings. As Wu Li presented gifts, including both didactic Christian artifacts and non-didactic landscape paintings to Christian converts, I examine the reciprocating relationships between Wu Li and his recipients, as well as his messages for them, which were driven by his priestly duty and ultimately his Christian faith.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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9

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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10

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 the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
Master of Arts (Hons)

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11

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/.

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12

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.
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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13

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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14

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 Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.

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Dubois, Matthieu. "Art de la plume et art du sabre : éprouver l'intangible. L'horizon partagé d’œuvres poétiques françaises contemporaines et d'un art martial oriental en contexte contemporain." Thesis, Cergy-Pontoise, 2015. http://www.theses.fr/2015CERG0753.

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L'objectif de la thèse est de comprendre les formes et les enjeux d'un imaginaire extrême-oriental au cœur de certaines œuvres de la poésie française d'après 1945 comme celles d'Henry Bauchau (né en 1913), Christian Dotremont (né en 1922) et Yves Bonnefoy (né en 1923). En particulier, cet imaginaire invite à considérer la création en « acte », en ce sens qu'il qualifie la dimension du faire dans la création poétique, comme il le fait par ailleurs dans les arts martiaux. L'enjeu de cette étude sera de comprendre la singularité de ces œuvres majeures de la production poétique française contemporaine, marquées par la culture extrême-orientale, en regard de la pensée de la création comme geste et comme présence, telle qu'un art martial oriental les met en œuvre en son propre lieu. À cet effet, l'approche des œuvres fera intervenir un outillage théorique pluridisciplinaire, dont la phénoménologie développée par Michel Henry, laquelle permettra de renouveler certains concepts de la critique littéraire et de valoriser ce qui demeure le plus souvent impensé sur le plan théorique : la dimension affective de l'écriture et de la lecture. En particulier, on observera les vertus guerrières et guérisseuses liées à l'écriture, la question du geste scripteur et la dimension spirituelle qui lui est attachée. Plus profondément, ces différentes approches éclaireront les enjeux de la création comme processus induisant un mieux-être du sujet tant créateur que récepteur
The objective of the thesis is to understand the forms and issues of a far-eastern imaginary that characterizes some works of French poets after 1945, like Henry Bauchau (born in 1913), Christian Dotremont (born in 1922) and Yves Bonnefoy (born in 1923). This imaginary allows considering creation as a “performance” and qualifies the dimension of making in poetic creation, what we can also observe in martial arts. The issue of this study is to understand how the far-eastern culture leaves its mark in these major works of contemporary French poetic production. The aim is precisely to enlighten their singularity from a perspective about creation as gesture and presence on, like an oriental martial art implements them in its own exercise. For that purpose, we will use multi-field theoretical tools, including the phenomenology developed by Michel Henry. This approach will renew some concepts of literary criticism and highlight what is often undeveloped in theory: the affective dimension of writing and reading. In particular, we shall observe warlike and healing virtues of writing, the question of the scriptwriting gesture and the spiritual dimension attached to it. More deeply, these approaches will enlighten creation as a process inducing a well-being for the creator as for the receiver

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16

Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.

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Friesen, Alysha Brayer. "Etiquette and the Early Roman Christian Basilica: Questions of Authority, Patronage, and Reception." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197991.

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Art History
M.A.
The genesis of the early Roman Christian basilica occurred at a moment of historical transition as the emperor and the empire began the process of converting to the Christian religion. Typically, this era has received scholarly treatment either as the end of a time in which the emperor held supremacy or the beginning of one dominated by bishops. The exact moment of `redefinition,' however, has rarely attracted attention because of the assertive oligarchies that bookended this transitional period, the Roman emperor and the Christian pontificate. Richard Krautheimer, who focused much of his attention on the historical figure of Constantine, promoted the idea that the basilica was Constantine's way of imbuing the Christian church with imperial authority and connotations; effectively, Constantine forever changed the shape of Christian churches. This explanation of the pivotal moment of genesis has been generally accepted and the moment of transition has not received much attention from scholars since. In my thesis I will focus primarily on this moment of transition. I will explore the political climate of the government, the authoritative hierarchy of the church, and the precedents of the very first early Roman Christian basilica, at the Lateran. The method that I will employ is the theory of etiquette, operating under the assumption that in every historical period, there is a general understanding of what is `fitting' and `appropriate.' Because of the paucity of material evidence and the unreliability of surviving primary sources, it is generally impossible to make incontestable statements about who was responsible for the early Roman Christian basilica, what they intended to convey to the Roman population, and how appropriate it would have been given the social decorum of the time. Thus, conclusions of this nature are not the primary focus of this thesis. Instead I will concentrate on reconstructing who the most appropriate agent of authority is, and how suitable the early Roman Christian basilica might have seemed.
Temple University--Theses

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18

McGann, Rebecca E. "Art and text in late antiquity : the language of Christian narrative images." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543642.

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Tatham, Gail Constance, and n/a. "Stories of Moses and visual narration in Jewish and early Christian art (3rd century AD)." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080318.163116.

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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.

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McNamara, Phillip. "A modernist sensibility and Christian wit in the work of Tom Gibbons /." Connect to this title, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0124.

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Altomonte, Jenna A. "The Postmemory Paradigm: Christian Boltanski's Second-Generation Archive." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244047774.

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Shapiro, Carla Rose. "From mimesis to metaphor : images of the Holocaust in contemporary photographic and installation art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250005.

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Dungan, Bebhinn. "Eve and the Madonna in Victorian art." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1254.

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This study identifies and addresses representations of Eve and the Madonna exhibited at seven well-known London venues during the Victorian era (1838-1901). The subjects of Eve and the Madonna are here selected for detailed analysis from the broader context of Victorian religious subject pictures, a category of Victorian art that remains arguably under-researched. Nineteenth-century religious art was rooted in a Romantic sensibility and was invested with the purpose of providing a balm during a course, commercial industrial age, which, like the Enlightenment that preceded it, heralded the birth of modern life. Religious art of the nineteenth-century was promoted for consumption by the emerging middle class as a balm to the material age. However, the art that reflected this anti-modern, anti-capitalist impulse served, paradoxically, as both an antidote to and a participant in the materialist marketplace. During the mid-nineteenth century, a moralizing, instructional value was invested in art and religious subjects in general, which experienced a peak in exhibition c. 1850. By the 1860s, however, British art was characterized by a less narrative and didactic sensibility, reflected in Aestheticism, which was concerned with ‘a separation of art from the concerns of ‘real life,’ as well as the Venetian Renaissance. In the 188s, Symbolism emerged, characterized not by style, but a sensibility, which included preoccupation with emotions, dream states, mythologies and religion, innocence, sin, beauty, motherhood, sex, disease, death. Although they were traditional figures, the Madonna and Eve were each invested with, and emblematic of, some of these fin-de-siècle themes. The seven prominent Victorian London exhibition venues examined range from conservative promoters of academicism to sites that promoted the risk-takers of the nineteenth century, such as the Grosvenor Gallery and the New Gallery. These were venues where national tastes were codified, national heroes were made and international artistic values were reexamined and reevaluated. This dissertation examines a nineteenth-century trajectory, from the early Victorian era through the turn of the nineteenth to the twentieth century, identifying styles if art through which to biblical icons of feminine identity, Eve and the Madonna, were expressed, and examining the ideas invested in them, all within the context of the Victorian revival of interest in Renaissance art and the stylistic trends in nineteenth-century art making.

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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, but which have not yet to been found among early art forms, are categorized and analyzed.

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Sorrels, Charles. "Cullet /." Online version of thesis, 1993. http://hdl.handle.net/1850/11257.

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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.

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Art History
Ph.D.;
My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.
Temple University--Theses

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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.

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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.

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Miller, Brett A. "The sacred art of verbal self-defense : image restoration discourse in christian rhetoric /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962548.

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Gartside, Philip Oswin. "The call of beauty across faiths : a Christian theological engagement with Japanese art." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3351/.

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This thesis explores the significance for Christians of the attractiveness of Japanese art, seeking to be true both to its distinctive religio-aesthetic milieu and to Christian believing. Its concern is for faithful,open hearted living in a plural world. Recognising in the trust which the beauty of the art evokes the operation of the Holy Spirit in redemption,it asks how we may hold together the person of Jesus Christ and the diverse meanings of the faiths. In answer it understands, from our life in God as ever extending& and necessarily hidden from us, a plenitude of meaning. Drawing on Ben Quash’s presentation of Christian living as enhanced theo dramatics of unframed reading of events with Christ, it offers a practice of juxtaposition. Examples are given from rock gardens, nō stage and shrine mandalas. More than dialectics, this is creative poiesis, illustrated by framing the metaphor ‘Christ is ma, where ma is that space marked by trace figuring emptiness, seen in these Japanese arts. The metaphor opens our eyes to evanescence, suchness and nothingness, and the faiths they articulate, as held by God within a field of loving trust. Such practice is dynamic and moral; ways are suggested in which it extends perspective, including in Christian performance of mission, dialogue and inculturation. Hence the thesis argues for the continuing importance of experience of difference. This is understood by means of Mutō Kazuo’s Field of the Inversion of Polarities under the mediating sign of Christ crucified and risen. Difference ultimately derives from and speaks of the dissimilitude between the Persons of the Trinity, origin of God’s ever greater nature as love. The gap of meaning between incommensurate but compelling faiths is to be received as space given by God for growth in love, participant in the loving relations of the Persons of the Holy Trinity.

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Pinkham, Todd Alan. "Brazen idols /." Online version of thesis, 1993. http://hdl.handle.net/1850/11902.

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

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

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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.

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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.

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Hammond, John Arthur. "British Great War rememberance : the influence of Christian text, teaching and iconography." Thesis, University of Wales Trinity Saint David, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683028.

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Ingle, Gabriela Elzbieta. "The significance of dining in Late Roman and Early Christian funerary rites and tomb decoration." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25949.

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The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.

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Grubbs, Jeffrey Bryan. "Teacher Belief Research in Art Education: Analyzing a Church of Christ Christian College Art Educator Beliefs and their Influence on Teaching." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284733542.

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

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Wylie, Janet S. "The development, practical application and cultural implications of the use of visual art by missionaries for the intercultural communication of the Gospel." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Milson, David. "Aspects of the impact of Christian art and architecture on synagogues in Byzantine Palestine." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:17261fb5-fbfb-4417-90a3-f0d01673f262.

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This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.

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Ehlenz, Christian [Verfasser]. "Zum Verhältnis von Recht und Ökonomik beim Behinderungsmissbrauch gemäß Art. 102 AEUV / Christian Ehlenz." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1105292592/34.

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Valleriani, Marco. "Religious themes, storytelling in Christian art and anticlerical strands in Dario Fo's Mistero Buffo." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531313.

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Aguilar-Moreno, Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Aguilar, Moreno José Manuel. "Tequitqui art of sixteenth-century Mexico : an expression of transculturation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.

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DeLoach, Dana Engstrom. "Image and Identity at El Santuario de Chimayo in Chimayo, New Mexico." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278102/.

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El Santuario de Chimayo is a small community shrine that combines both native Tewa Indian and Christian traditions. This study focuses on the interaction between traditions through analysis of the shrine's two major artworks: a crucifix devoted to El Senor de Esquipulas (Christ of Esquipulas) and a statue of the Santo Nino (Holy Child). The shrine and its two primary artworks are expressions of the dynamic interaction between native and European cultures in New Mexico at the beginning of the nineteenth century. They frame the discussion of native and Christian cultural exchange about the relationships between religious images, how they function, and how they are interpreted.

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Rossi-Keen, Pamela M. "A disposition of transcendence : Christian platonism and personalism as prolegomena for approaching art and life /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266066.

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Steinle, Christian C. [Verfasser]. "Europäische Beschäftigungspolitik. : Der Titel »Beschäftigung« des EG-Vertrages (Art. 125 bis 130). / Christian C. Steinle." Berlin : Duncker & Humblot, 2020. http://d-nb.info/1238316468/34.

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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.
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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Clark, Travis Lee. "Imaging the Cosmos: The Christian Topography by Kosmas Indikopleustes." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/2022.

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Art History
Ph.D.
The Christian Topography by Kosmas Indikopleustes was both one of the most perplexing and one of the most elaborately illustrated manuscripts of the Byzantine era. Written in the sixth-century, the manuscript survives in three copies: Vatican Greek 699, a ninth-century codex in the Vatican collections, and two eleven-century copies, Sinai Greek 1186 in the library of Monastery of St. Katherine in Sinai, and Pluteus IX.28, in the possession of the Laurentian Library in Florence. The work attempted nothing less that the replacement of the Aristotelian-Ptolemaic system of the universe with a cosmological model the author thought was more in harmony with Christian scripture. The text was illustrated with many unique diagrams of the cosmos, as well as several narrative biblical images. Long disparaged as an obscure work by an ignorant author, scholarship focused instead on the ornate miniatures. Kurt Weitzmann and other scholars advanced the theory that the illustrators appropriated many images, particularly the narrative images from book five, from an earlier source, possibly a lost Octateuch tradition. The cosmological diagrams were seen as a novelty and largely ignored. This avenue of research resulted in a bifurcation of the text and image in scholarship of the manuscript, in which the illustrative program was seen as ad hoc or derivative and unrelated to the text or Kosmas' theories. After having thoroughly examined all three surviving manuscripts in person, I have come to a different conclusion. By exploring the author's use of language and typology, I believe I have demonstrated that all the images, even the problematic narrative ones, relate directly to Kosmas' theories and were probably original. Kosmas was not a fundamentalist or a "know-nothing" as previously described but a cosmopolitan and flexible thinker deeply immersed in the Christological debates of his era. Viewed in that context, The Christian Topography used a holistic approach where images and visual imagery were indispensable to the author's arguments.
Temple University--Theses

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O'Loughlin, John University of Ballarat. "Vessels for miracles : a tangible expression of an unwillingness to disallow belief." University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12796.

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"Through a review of the art of late antiquity and early Christianity, the study examines the nature of, and tension between, superstion and belief. It debates the implicit question 'is all religion superstition?' in an attempt to provide a sound basis for the presentation of reasons for my personal unwilingness to 'disallow belief' in the mysteries of the Faith, despite doubts on their content."
Master of Arts (Visual Arts)

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O'Loughlin, John. "Vessels for miracles : a tangible expression of an unwillingness to disallow belief." University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14632.

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"Through a review of the art of late antiquity and early Christianity, the study examines the nature of, and tension between, superstion and belief. It debates the implicit question 'is all religion superstition?' in an attempt to provide a sound basis for the presentation of reasons for my personal unwilingness to 'disallow belief' in the mysteries of the Faith, despite doubts on their content."
Master of Arts (Visual Arts)

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