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Journal articles on the topic 'Christian art and synbolism'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 January 2023

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1

EFIRD, DAVID, and DANIEL GUSTAFSSON. "Experiencing Christian art." Religious Studies 51, no. 3 (August 14, 2015): 431–39. http://dx.doi.org/10.1017/s0034412515000335.

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AbstractIn this article, we argue that a secularist cannot experience Christian art in the same way that a Christian can. To defend this claim, we argue that Christian faith is best conceived as an engagement with God, such that coming to have faith is a transformative, second-person experience where a person comes to know what it is like to be loved by God and that Christian art is best conceived as iconic, such that it is an occasion for, and a mode of, experiencing God. Thus, for the Christian, but not for the secularist, experiencing Christian art consists in an experience of God himself.

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2

NAVONE, J. "The Value of Christian Art." Studies in Spirituality 14 (January 1, 2004): 303–17. http://dx.doi.org/10.2143/sis.14.0.505199.

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3

Russell, Ada. "Jensen, Understanding Early Christian Art." Studies in World Christianity 7, no. 2 (October 2001): 267–69. http://dx.doi.org/10.3366/swc.2001.7.2.267.

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4

Gustafsson, Daniel. "The Beauty of Christian Art." Forum Philosophicum 17, no. 2 (2012): 175–96. http://dx.doi.org/10.5840/forphil201217212.

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5

Strickland, Debra Higgs. "The Jewishness of Christian Art." Ars Judaica: The Bar Ilan Journal of Jewish Art 11 (May 2015): 97–100. http://dx.doi.org/10.3828/aj.2015.6b.

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6

Hemans, Caroline J., and Robert Milburn. "Early Christian Art and Architecture." American Journal of Archaeology 94, no. 3 (July 1990): 517. http://dx.doi.org/10.2307/505832.

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7

AL-AKAM, RUAA SADEQ MHMOOD, and Salam Hameed Rasheed. "Aesthetics of Byzantine Christian Art." Journal of Humanities and Social Sciences Studies 4, no. 1 (February 27, 2022): 143–53. http://dx.doi.org/10.32996/jhsss.2022.4.1.14.

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The current study addressed the study of (The aesthetics of Byzantine Christian art). Its problem was identified by answering the following question: What are the aesthetics of Christian art represented by the Byzantine icon? Also, it aims to (recognize the aesthetics of Byzantine icon art). The research community was identified to achieve the goal, which consisted of icons and religious drawings that the researchers could count as a framework for the research community after collecting pictures of the subject from foreign and Arab sources and Internet sites. The sample was drawn according to the following reasons: a) It covers the temporal and spatial limits of the research and what fits with the data to achieve the goal, b) Diversity of technical methods adopted in drawing icons and c) The study sample models witnessed a diversity of contents and ideas. The research study reached the following conclusions. First, they borrow iconographic products, religious images and semantic symbols related to the Christian tradition and employ them through analytical visual inferences, in harmony with the structural and structural treatments of the elements and organizational foundations. Second, the products of icon art are associated with the nature of the transition from the tangible to the ideal and in line with the loading of the composition structure with an expressive energy, explaining the necessity of interpretation of religious discourse, and defining the operational vision with a clear dramatic sense. Third, the iconographic models depend on philosophical data supporting the religious meaning carried in them and giving endless explanations for the public discourse affecting the functionality of (idea) or (event). Fourth, the models of iconographic art are close to the nature of the functional induction of spiritual and sacred tendencies. At the level of deep interpretations accompanying visual forms with a clear aesthetic impact, we find that icon art carries with it religious reference effects related to the sacred. Lastly, Icon art invests in accumulating aesthetic knowledge to produce the artistic image and summons the largest possible amount of data affecting its formulation and output.

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Smith, James K. A. "The Art of Christian Atheism." Faith and Philosophy 14, no. 1 (1997): 71–81. http://dx.doi.org/10.5840/faithphil19971418.

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Elliott, J. K. "Art and the Christian Apocrypha." Expository Times 113, no. 3 (December 2001): 84–87. http://dx.doi.org/10.1177/001452460111300304.

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10

Bruce, S. G. "Environmental Values in Christian Art." Environmental History 15, no. 3 (July 1, 2010): 563–65. http://dx.doi.org/10.1093/envhis/emq062.

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Ferguson, Everett. "Understanding Early Christian Art (review)." Journal of Early Christian Studies 10, no. 1 (2002): 143–44. http://dx.doi.org/10.1353/earl.2002.0004.

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Couzin, Robert. "Uncircumcision in Early Christian Art." Journal of Early Christian Studies 26, no. 4 (2018): 601–29. http://dx.doi.org/10.1353/earl.2018.0053.

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13

Parker, James Ryan. "Environmental Values in Christian Art." Worldviews: Global Religions, Culture, and Ecology 13, no. 2 (2009): 242–44. http://dx.doi.org/10.1163/156853509x438652.

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14

Jensen, Robin M. "Early Christian Art and Divine Epiphany." Toronto Journal of Theology 28, no. 1 (March 2012): 125–44. http://dx.doi.org/10.3138/tjt.28.1.125.

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15

Park, Jin Sook. "Christian Parent Education Using Art Activities." Bible & Theology 75 (October 30, 2015): 319–48. http://dx.doi.org/10.17156/bt.75.11.

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16

Makarova, Nina. "The rainbow motif in Christian art." Ideas and Ideals 11, no. 2-2 (June 24, 2019): 410–19. http://dx.doi.org/10.17212/2075-0862-2019-11.2.2-410-419.

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17

Lidova, Maria A. "THE ANNUNCIATION IN EARLY CHRISTIAN ART." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2021): 28–41. http://dx.doi.org/10.28995/2686-7249-2021-6-28-41.

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The paper is dedicated to the earliest formative stages of Annunciation imagery. Although it was widely spread in the Middle Ages, only a few examples of the scene survive from the early Christian period. Judging by the existing material evidence, it can be argued that the image of the Annunciation acquired recognizable and fully-fledged form only in the fifth century. Early examples reveal distinct formative stages of the iconography and the gradual introduction of additional features, enriching the content and visual rendering of this highly significant visual theme. This paper analyzes the influence of Apocrypha, as well as of the early theological tradition, on the development of the Annunciation scene and reveals the importance of this material to the study of the cult of the Mother of God.

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18

Иванова, С. В. "Angelic Trumpets in Medieval Christian Art." OPERA MUSICOLOGICA, no. 2022 (September 12, 2022): 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.

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В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозаветных пророков и имеют огромное значение в библейской культуре. В христианском искусстве Западной Европы и Византии с XI столетия появляются произведения — фрески, барельефы, мозаики, иконы, миниатюры, — в которых шофары изображаются весьма правдоподобно. После XV века в западноевропейском искусстве значение шофара перестает осознаваться, вместо них начинают изображаться просто медные трубы, с характерным широким раструбом и бликами на металле. Понимание значения шофара объясняет роль духовых инструментов в иконографии христианских сюжетов, а также появление в искусстве эпохи Возрождения образов музицирующих ангелов. The article investigates a special music instrument of angels. This image is first reflected in the Christian art of the XI–XV centuries and is depicted as a Biblical instrument called a shofar, a pipe made from a ram’s horn. The pipe has a distinctive shape, slightly curved; with a small bell-mouth. The instrument varies in size and can be decorated with carvings or incrustations. Shofar is an instrument that was used only for ritual purposes and, being of great importance in the Biblical culture, is described in the visions of the Old Testament prophets. Besides the End of Time, shofar is also symbolically connected with the beginning of the Jubilee year, the holy time, proclaimed by the sounds of shofar. In Christian Art of Western Europe, beginning from XI century, one can see frescoes, mosaic, icons, miniatures, bas-relieves that depict shofar quite credibly. In the miniatures of the Western European manuscripts, one can often see two angels positioned differently: one blowing his horn over the condemned sinners, while the other — over the resurrecting righteous men. It would be right to state that the popularity of shofar in the Western European art fades away after XV century, it being replaced by simple copper pipes with wide openings and metallic glitter. Understanding of the symbolical meaning of the shofar, however, sheds some light onto the significance of these instruments in the scenes of the end of the world.

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19

CAMERON, Averil. "Art and the Early Christian Imagination." Eastern Christian Art 2 (December 1, 2005): 1–8. http://dx.doi.org/10.2143/eca.2.0.2004544.

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20

Scott, J. "Review: Art and the Christian Apocrypha." Journal of Theological Studies 54, no. 1 (April 1, 2003): 296–99. http://dx.doi.org/10.1093/jts/54.1.296.

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21

Taylor, Richard W. "Book Review: Christian Art in India." International Bulletin of Missionary Research 12, no. 1 (January 1988): 37. http://dx.doi.org/10.1177/239693938801200118.

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22

Costa, António Ribeiro da. "CHRISTIAN SACRED ART: A CONSERVATION CHALLENGE." Studies in Conservation 51, no. 3 (January 2006): 7–11. http://dx.doi.org/10.1179/sic.2006.51.3.7.

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23

Kapikian, Catherine. "Book Review: Dictionary of Christian Art." Interpretation: A Journal of Bible and Theology 50, no. 3 (July 1996): 336. http://dx.doi.org/10.1177/002096439605000338.

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24

Jensen, Robin Margaret. "Art and the Christian Apocrypha (review)." Journal of Early Christian Studies 11, no. 1 (2003): 121–22. http://dx.doi.org/10.1353/earl.2003.0007.

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25

CONLIN, JONATHAN. "GLADSTONE AND CHRISTIAN ART, 1832–1854." Historical Journal 46, no. 2 (June 2003): 341–74. http://dx.doi.org/10.1017/s0018246x03002978.

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Although his activity as a private collector has been documented, the extent to which William Ewart Gladstone's interest in art was implicated in his thought on church and state has been overlooked. Previously unnoticed memoranda and correspondence of the 1830s and 1840s with the French art historian and Roman Catholic thinker, François Rio, demonstrate a fascination with religious painting of early Renaissance Italy, of the sort which only came to be appreciated in Britain many years later. For Rio, however, introducing Gladstone to ‘Christian art’ was as much about encouraging Gladstone in his hopes of reuniting the Protestant and Catholic churches as it was about reforming his taste. The manuscripts considered here show Gladstone to have viewed art history in terms of a struggle between sanctity and sensuality, visualized in terms both of the individual as well as of nationalities. In so far as the young Conservative politician formulated this history in tandem with his theory of the religious personality of the state, a study of his model of Christian art's development affords a new path into an old debate: did Gladstone betray the principles of his first book, The state in its relations with the church (1838) in his subsequent political evolution into Liberal statesman?

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26

Hourihane, Colum. "Introduction: The Index of Christian Art." Visual Resources 13, no. 3-4 (January 1998): 211–13. http://dx.doi.org/10.1080/01973762.1998.9658420.

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27

Kinney, Dale. "A Journey into Christian Art (review)." Catholic Historical Review 87, no. 4 (2001): 712–13. http://dx.doi.org/10.1353/cat.2001.0163.

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28

Jones, Pamela M. "The Reception of Christian Devotional Art." Art Journal 57, no. 1 (March 1998): 2–4. http://dx.doi.org/10.1080/00043249.1998.10791863.

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29

Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.

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30

Lee M., Jefferson. "The Staff of Jesus in Early Christian Art." Religion and the Arts 14, no. 3 (2010): 221–51. http://dx.doi.org/10.1163/156852910x494411.

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AbstractWhen surveying examples from Christian art of the third and fourth centuries, a viewer will invariably encounter the puzzling image of Jesus performing miracles holding a staff or wand. Theologians, art historians, and even the current pope have interpreted Christ’s miracle-working implement as a symbol denoting Jesus as a philosopher or a magician. However, the most reasonable explanation of the staff can be discovered by examining the only other two staff-bearers featured in the corpus of early Christian art: Moses and Peter. Miracles and the figures who wrought them were the primary currency of faith in late antiquity. Such an emphasis is readily apparent in early Christian texts. This article will demonstrate the emphasis on miracles in early Christian art by focusing on the peculiar iconographic feature of the staff. The staff in Christian art of the third and fourth centuries is not evocative of magic, philosophy, or any other non-Christian influence. Instead, the staff is meant to recall the miracle worker Moses and to characterize Jesus and Peter as the “New Moses” of the Christian faith.

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31

Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (January 1996): 37–53. http://dx.doi.org/10.1017/s0261143000007959.

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For many, art is a product: the painting to be observed and contemplated, the concert to be heard and enjoyed. There is, however, another conception of art – art as activity – and it is in this context that Howard Becker (1984) develops his concept of art worlds. Art worlds, Becker argues, include more than the artists who create the work which the public commonly defines as art. Any given art world will consist of the network of people whose co-operative activity produces that art world's certain type of artistic product (Becker 1984, p. x). Organised according to their knowledge of the art world's goals and conventions for achieving those goals, the art world includes five basic categories of people: the artists who actually create and produce the art; the producers who provide the funds and support for the production of the art; the distributors who bring the art to the audience; the audience who purchases and collects the art; and finally, the critics, aestheticians and philosophers who create and maintain the rationales according to which all these other activities make sense and have value. These rationales, however, are not merely descriptive but prescriptive. For despite the efforts of those who would keep an art world static in its products and function, art worlds are dynamic. Changes in the art world are often made in response to changes in the rationales - i.e., the philosophical justifications for an art world's art - which identify the art world's product as ‘good’ art and explain how that art fills a particular need for people and society (Becker 1984, p. 4).

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32

Spittler, Janet. "Picturing the bible the earliest christian art." Material Religion 5, no. 2 (July 2009): 249–50. http://dx.doi.org/10.2752/174322009x12448040552124.

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33

Stokstad, Marilyn. "Understanding and Enjoying the Earliest Christian Art." American Journal of Archaeology 112, no. 3 (July 2008): 533–41. http://dx.doi.org/10.3764/aja.112.3.533.

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34

이정구. "Korean Christian Modern art and Its Auction." THEOLOGICAL THOUGHT ll, no. 139 (December 2007): 267–90. http://dx.doi.org/10.35858/sinhak.2007..139.009.

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35

Barashkov, Victor. "Dary (Almanac of Contemporary Christian Art)/ reviewed." Религиоведческие исследования, no. 1 (2020): 81–87. http://dx.doi.org/10.23761/rrs2020-21.81-87.

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36

O'Connor, Dónal. "Book Reviews: The History of Christian Art." Irish Theological Quarterly 64, no. 2 (June 1999): 209–11. http://dx.doi.org/10.1177/002114009906400214.

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37

Küster, Volker. "The Christian Art Scene in Yogyakarta, Indonesia." International Bulletin of Mission Research 40, no. 2 (March 25, 2016): 133–51. http://dx.doi.org/10.1177/2396939316638339.

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38

Magnarella, Paul J. "A CHRISTIAN ARMENIAN'S CONTRIBUTION TO ISLAMIC ART." Muslim World 81, no. 3-4 (October 1991): 262–66. http://dx.doi.org/10.1111/j.1478-1913.1991.tb03530.x.

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39

Rottenberg, Ian. "Fine Art as Preparation for Christian Love." Journal of Religious Ethics 42, no. 2 (April 14, 2014): 243–62. http://dx.doi.org/10.1111/jore.12055.

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40

Laing, Lloyd. "The Roman Origins of Celtic Christian Art." Archaeological Journal 162, no. 1 (January 2005): 146–76. http://dx.doi.org/10.1080/00665983.2005.11020623.

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41

Jacoby, Thomas. "EARLY CHRISTIAN ART AND ARCHITECTURE. Robert Milburn." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 2 (July 1989): 95–96. http://dx.doi.org/10.1086/adx.8.2.27948059.

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42

Smith, Yolanda Y. "The Table: Christian Education as Performative Art." Religious Education 103, no. 3 (June 10, 2008): 301–5. http://dx.doi.org/10.1080/00344080802053469.

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43

Küster, Volker. "Christian Art in Asia — Some Recent Publications." Exchange 37, no. 3 (2008): 365–69. http://dx.doi.org/10.1163/157254308x312027.

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44

Alekseeva, Galina V. "Towards the Ontology of Orthodox Christian Art." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 59–69. http://dx.doi.org/10.56620/2782-3598.2022.3.059-069.

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The art of the Orthodox Christian Church conveys the special thinking intrinsic to believers, which does not fit into standard ideas. This type of thinking is characterized by a deep penetration into all aspects of artistry: icon painting, church singing and church action. Researchers have been paying attention to this for a long time. At the same time, only in the present day with the careful study of the works of St. John of Damascus and the Church Fathers, the veil of secrecy has been lifted. The integrality of this thinking becomes clear, and it is achieved solely in the synthesis of the constituent parts of the rite and its artistic means. The ontology of Orthodox Christian art is revealed in the article by means of approaches to the analysis of the works of St. John of Damascus and examples of the implementation of the synthesis of arts in icon painting and church chants which are close to the content of the icon. The works of Father Pavel Florensky, Yuri Lotman, Alexei Lidov, Sergei Averintsev and Nikolai Mikhaltsov have become the impetus for careful reading of St. John of Damascus’ guidelines on such a concept as perichorisis, which, as it becomes clear, is important for the interpretation not only in the Christological key, but also as the most important ontological basis of the entire artistic heritage that accompanies worship in church. The synthesis of the color scheme of the icon image, the color model of the text of the accompanying chant, the construction of melodic formulas in accordance with the metatext points of the chant – altogether this creates a unique complex of artistic means of Orthodox Christian art.

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45

Grüter, Verena. "The Art of Music in Asian Christianity." International Journal of Asian Christianity 1, no. 2 (September 11, 2018): 290–306. http://dx.doi.org/10.1163/25424246-00102007.

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From the very beginning, music has played an important role in shaping the theological and spiritual identity of Christian churches in Asia. While the topic of music and spirituality has been addressed practically and in musical theory, the question of Christian identity through music has attracted seemingly very little attention in theological research. By way of example, this paper discusses six types of Christian music styles in Asia and analyses their connection with theological identities of the respective communities.

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46

Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.

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AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1

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47

Kahn, Douglas. "Christian Marclay's Early Years: An Interview." Leonardo Music Journal 13 (December 2003): 17–21. http://dx.doi.org/10.1162/096112104322750737.

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The artist discusses with the author his early career and influences. Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his early experiments in art, music and performance using records. Marclay describes the evolution of his use of records and discusses other influences, such as art school and the New York club scene of the 1970s.

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48

Fernandes, Lawrence S. "Indian Aesthetics and Christian Art of Jyoti Sahi." SALESIAN JOURNAL OF HUMANITIES & SOCIAL SCIENCES 8, no. 1 (May 1, 2017): 105–12. http://dx.doi.org/10.51818/sjhss.8.2017.105-112.

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49

Fleming, Alison C., and Jules Lubbock. "Storytelling in Christian Art from Giotto to Donatello." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 933. http://dx.doi.org/10.2307/20479123.

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50

Korovin, Andrey V. "Creator and Art in Hans Christian Andersen’s Novels." Studia Litterarum 6, no. 2 (2021): 50–73. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-50-73.

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The article deals with three novels by Danish writer Hans Christian Andersen, who is known worldwide as an author of fairy tales. In his novels The Improviser (1835), Only a Fiddler (1837) and Lucky Peer (1870) the main plot is built on the issue of relationships between a creator, an artist and the rest of the world. The theme of art is the one of the most important for the Romantic esthetics and Andersen discusses it in different ways in his novels. Philosopher S. Kierkegaard criticized Andersen’s conception of how a talent interacts with the reality as naive and fictive, but Andersen gives different visions of the artist’s way in these texts. The first novel is the history of an Italian boy who has an outstanding talent of improvisation. He receives assistance from people and eventually becomes a real artist in Romantic sense of the word. The hero of the second novel Christian is partly alter ego of the author, a boy from a poor family who tries to realize his musical talent but has not enough spiritual power to overcome all troubles in his life. He cannot find himself as an artist and dies. The title of the last novel is relevant to its subject — it is a story about the rise of а talented singer and his death on the top of fame. These three heroes are different types of interaction between a creator and reality in its romantic interpretation.

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