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Journal articles on the topic 'Christian art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

Karivieri, Arja. "Divine or Human Images? Neoplatonic and Christian Views on Works of Art and Aesthetics." NUMEN 63, no. 2-3 (2016): 196–209. http://dx.doi.org/10.1163/15685276-12341420.

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This paper explores how Neoplatonists and Christians experienced and interpreted works of art, and how views on artists and individual works of art, such as Pheidias’ Zeus in Olympia, were expressed by the representatives of traditional Greco-Roman religions and Christians. The way the value of a work of art was expressed in Greco-Roman literature is compared with the comments and opinions of Neoplatonists and Christian authors, which show that art and its appreciation and function are closely connected to the relationship to God in ancient sources. The ideal of beauty took its place to enrich

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3

EFIRD, DAVID, and DANIEL GUSTAFSSON. "Experiencing Christian art." Religious Studies 51, no. 3 (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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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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5

Julisa Rowe. "Storytelling As Imaginational Art In Christian Education." Conference Series 4, no. 2 (2023): 132–42. http://dx.doi.org/10.34306/conferenceseries.v4i2.933.

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A few years ago, I went to see the play “The Christians” at a college in Portland, OR. Portland is, philosophically, an extremely liberal town. And the college doing the play is a very secular, liberal college reflection of that. I found it interesting that they were doing a play called “The Christians” and wanted to see what they were going to do to the Christian message, since there is a tendency for non-Christians to present Christians as narrow-minded, bigoted or even idiotic! The play takes place in a megachurch that has just paid off its debts, and the pastor declares there is no physica

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Jaksic, Predrag. "Is „ecclesiastical art“ possible?" Theoria, Beograd 68, no. 1 (2025): 195–203. https://doi.org/10.2298/theo2501195j.

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In this paper, we deal with the problem of the possibility of the existence of ecclesiastical art. We are investigating whether it is possible for a single work to be an integral part of the Church at the same time, in these terms we are talking about a living organism, the Church as a community of Christians whose head is Jesus Christ, and a work of art, and as such to be artistically and aesthetically observed and evaluated by the criteria of the secular world. We deal exclusively with the Christian Church and the so-called Christian ecclesiastical art, mainly on the example of icons. We tak

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Marianus Dinata Alnija. "HOMILI MELAMPAUI SEGALA BENTUK KATEKESE (Evangelii Gaudium, art 135-159)." Jurnal Filsafat dan Teologi Katolik 3, no. 1 (2019): 45–51. http://dx.doi.org/10.58919/juftek.v3i1.24.

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Today Christians has faced various challengge that plunge many christian into consumerism, terrible sadness, hedonism and covetous. As the result many christian become selfish, irritable, and egoist. For that reason, Pope Francis urged many preachers should work hard in proclaiming the gospel especially through homilies because homilies beyond all form of catechesis. This paper aims to explore Pope Francis' theological ideas about concerning homily. In a way of exploring the theological conception regarding homily, the writer treats the apostolic exhortation of evangelii Gaudium article number

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8

Taylor, John Wesley. "Aesthetics in Christian education." Asia Adventist Seminary Studies 3, no. 1 (2000): 51. https://doi.org/10.63201/grws9934.

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Concept confusion readily assaults the Christian mind. For certain Christians, "beauty" and "sin" have become synonyms, mirror images of depravity and degradation. Furthermore, these individuals often equate piety with somberness, drabness with holiness. If one experiences delight, such feelings must be inevitably wrong and the source of pleasure inherently evil. By some, the injunction "love not the world" (1 John 2:15) is viewed, in fact, as a grim warning against literature, music, and art. Such aesthetic experiences are viewed as subtle, sinister attempts to sneak worldliness in through th

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9

Jeffrey, David Lyle. "Meditation and Atonement in the Art of Marc Chagall." Religion and the Arts 16, no. 3 (2012): 211–30. http://dx.doi.org/10.1163/156852912x635205.

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Abstract Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jew

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10

Cristian, GAGU. "THE EVOLUTION OF CHRISTIAN ICONOGRAPHY IN THE VI-VII CENTURIES." Icoana Credintei 10, no. 20 (2024): 65–89. http://dx.doi.org/10.26520/icoana.2024.20.10.65-89.

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The II-III centuries represented the period of the birth of Christian sacred art through Christians imitating the custom of pagans, from whose ranks most of them came, to decorate their graves, sarcophagi or mausoleums with images and even by borrowing some pagan symbols and themes, to which they obviously gave a new, Christian meaning, to which, of course, exclusively Christian themes were added, most often of biblical origin, most of them having a narrative-historical character. In the 4th-5th centuries, under the careful supervision of the Church, a synthesis was made regarding the themes a

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11

Gagu, Cristian. "Evoluția iconografiei creștine în secolele VI‑VII." Teologie și educație la "Dunărea de Jos" 22 (June 30, 2025): 192–225. https://doi.org/10.35219/teologie.2024.02.

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The II-III centuries represented the period of the birth of Christian sacred art through Christians imitating the custom of pagans, from whose ranks most of them came, to decorate their graves, sarcophagi or mausoleums with images and even by borrowing some pagan symbols and themes, to which they obviously gave a new, Christian meaning, to which, of course, exclusively Christian themes were added, most often of biblical origin, most of them having a narrative-historical character. In the 4th-5th centuries, under the careful supervision of the Church, a synthesis was made regarding the themes a

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12

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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13

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

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14

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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15

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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16

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

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17

AL-AKAM, RUAA SADEQ MHMOOD, and Salam Hameed Rasheed. "Aesthetics of Byzantine Christian Art." Journal of Humanities and Social Sciences Studies 4, no. 1 (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

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18

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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19

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

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20

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

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21

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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22

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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23

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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24

Mocholí Martínez, María Elvira. "Medieval Christian Religion and Art." Religions 15, no. 3 (2024): 298. http://dx.doi.org/10.3390/rel15030298.

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25

Octa Maria Sihombing, Jordi Istandar, and Evi Mariani. "Music And Philosophy In Relation To Christian Belief." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (2024): 50–79. http://dx.doi.org/10.55606/jurrsendem.v3i1.2358.

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This research explores the relationship between music and philosophy within the context of Christian faith. The research methodology employed is descriptive and qualitative, utilizing a hermeneutic approach that involves literature review, in-depth interviews, and qualitative analysis. The findings indicate that music, as an art form that utilizes sound, plays a significant role in expressing Christian faith, facilitating church worship, and fostering fellowship. Christian philosophy is the study of the nature of reality. It helps to understand the meaning of music in the context of Christian

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26

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

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27

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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28

Häger, Andreas. "Like a Prophet - On Christian Interpretations of a Madonna Video." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 151–74. http://dx.doi.org/10.30674/scripta.67227.

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Throughout the history of Christianity, its relationship to art has been a complicated one, concerning the use of art in worship as well as the views on "secular" art. This article deals with a current example of the latter. More specifically, the article examines some examples of Christian views on popular music. The best-known reactions to pop and rock music' by Christians are likely to be negative ones, probably because these are usually the most loudly declared. But there is also another aspect to the Christian discourse on popular music. Some Christians try to emphasise what is perceived

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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (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. H

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Tiurina, Svetlana Nikolaevna. "Between image and depiction: The Second Commandment in the Context of Catacomb Painting." Философская мысль, no. 4 (April 2025): 1–25. https://doi.org/10.25136/2409-8728.2025.4.73641.

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Catacomb painting, formed in the context of the biblical prohibition on images (the Second Commandment), is a unique phenomenon of early Christian culture. The article analyzes methodological approaches to its study: iconographic analysis, concepts of identity, artistic style, dialogue and the role of the viewer. Special attention is paid to the juxtaposition of an "image" (a material object) and an "image" (a symbol indicating the transcendent), which reveals the apophatic principle of overcoming prohibition. The author criticizes the limitations of existing methods, offering an interdiscipli

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

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32

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

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34

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

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35

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 ветхозавет

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36

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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37

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

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38

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

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

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40

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

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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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42

CONLIN, JONATHAN. "GLADSTONE AND CHRISTIAN ART, 1832–1854." Historical Journal 46, no. 2 (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 h

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43

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

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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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45

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

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46

Grüter, Verena. "The Art of Music in Asian Christianity." International Journal of Asian Christianity 1, no. 2 (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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47

Gonzaba, Eric. "Born-Again Boogie." California History 101, no. 1 (2024): 27–51. http://dx.doi.org/10.1525/ch.2024.101.1.27.

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This article examines the culture of California Christian nightclubs opened by evangelical entrepreneurs in the 1970s and ’80s. These venues were part of an effort to reclaim secular spaces and transform them into Christian copies of typical nightlife sites like bars and dance clubs. The nightclubs were designed to break the stereotype of religious spaces as anti-fun, offering a secular feel with dance floors and state-of-the-art sound systems. The article explores the rise of Christian nightclubs, the development and culture of these evangelical spaces, and the reasons for their failure to be

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48

Anagnostou Laoutides, Eva. "Miracles of Technology and Art: Ancient Religious Aesthetics and Byzantine Iconoclasm." De Medio Aevo 13, no. 2 (2024): 365–93. http://dx.doi.org/10.5209/dmae.97637.

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This article explores the role of technology in arousing religious awe from classical antiquity to the time of Emperor Theophilos. People’s fascination with technology ensured that this trend, increasingly popular in Greco-Roman religious festivals from the Hellenistic period onwards, gained pace among Christians after an initial period of rejecting pagan religious aesthetics. Technology was highly prised by both pagan and Christian rulers who typically sought to impress their subjects by displaying the technology available at their disposal. However, while the emperors’ reliance on technology

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Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (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 w

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50

Indrayani, Nelly, and Supian Ramli. "The Impact of Transmigration on The Development of Christianization in West Pasaman (1953-1980)." Criksetra: Jurnal Pendidikan Sejarah 12, no. 1 (2023): 93–107. http://dx.doi.org/10.36706/jc.v12i1.19430.

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Abstract : This study reveals the social history of transmigration's effects on the chirstianization of pasaman. This chirstianization took place in 1953, for the existence of christians who have settled in about the 20th century. These christians came from java, and it's mainly in transmigration resettlement areas. In progress until the end of 1980, chirstian activity look dinamics, so that christian could engage in various activity of life. The study uses historical science research methods of heuristic, critisim, interpretation, and historiography. Studies have found that, the social moveme

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