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Relevant bibliographies by topics / Christian sacred art

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Academic literature on the topic 'Christian sacred art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Christian sacred art"

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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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Лещенко, Альона Михайлівна. "ФЕНОМЕН РЕЛІГІЙНОГО РЕЗОНАНСУ". Філософські обрії, № 35 (12 липня 2016): 192–202. https://doi.org/10.5281/zenodo.57540.

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Are identified the factors which, at formal availability of conditions and mechanisms functioning in a similar way during perception of works of Christian sacred art, form peculiarity of this effect on each person. It is proved that occurrence of mutual interrelation between a person-recipient and the sense transmitted by a work of Christian sacred art provides the effect of acceptance by the person ideas of Christian Belief Study expressed in art works. This process is executed due to religious resonance. The study, based on the pattern of synergic and personality-centered approach, considers

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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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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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Nader, Myrna. "From Medieval Sacred Art to Modern Photography." Religion and the Arts 27, no. 4 (2023): 427–53. http://dx.doi.org/10.1163/15685292-02704007.

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Abstract In this study of image-making, it is argued that from the Middle Ages to the Modern period in Lebanon, coexistence between Christians and Muslims, who maintained contact alternately as a minority or dominant culture, was defined by fundamental ideas about sacred art, namely, the embodiment and depiction of the divine. The central premise holds that in Christianity paintings of a religious character are of importance because they reaffirm belief in the doctrine of incarnation, and thus Christ’s humanity. In Islam, by comparison, such art is idolatrous and deserving of censure. The oppo

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Лещенко, Альона Михайлівна. "«ХУДОЖНЯ РЕЦЕПЦІЯ» ЯК МЕХАНІЗМ СПРИЙНЯТТЯ ТВОРІВ ХРИСТИЯНСЬКОГО САКРАЛЬНОГО МИСТЕЦТВА". Філософські обрії, № 34 (12 грудня 2015): 99–109. https://doi.org/10.5281/zenodo.35297.

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Christian sacred art, and the person himself, are defined as the systems characterized by self-development and negentropy; this makes it possible to consider the influence of sacred art works on the man from the point of view of reception mechanisms, namely, art reception. It is proved that the essence of the phenomenon «art reception» is worth considering as the effectiveness of the perception process of Christian sacred art by the recipient. A psychological mechanism of resonance attractive feature preference of the art religious image during its perception is determined as the m

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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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Ishchenko, O. "Spatial-temporal principles of the symbols of Ukrainian sacred art." Ukrainian Religious Studies, no. 11 (September 21, 1999): 93–100. http://dx.doi.org/10.32420/1999.11.1024.

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Understanding Ukrainian sacred art is impossible without understanding how ancient Ukrainians felt space and time, transformed and materialized this understanding in signs, the most ancient among which is the circle, square and cross. These symbols are universal spatial and temporal signs that play the role of archetypes and have deep pre-Christian roots and origins. Their original, cosmological essence of the understanding of nature, the desire to convey the divine essence through comprehension of space and time converges the sacred art of the Christian, Hindu and Islamic worlds.

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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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Balabushka, Victoria. "CHRISTIAN-SACRAL TRADITIONS OF CHERNIGIV-SIVERSKY REGION." Baltic Journal of Legal and Social Sciences, no. 2 (October 25, 2022): 12–16. http://dx.doi.org/10.30525/2592-8813-2022-2-2.

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In the article, from the standpoint of cultural research, there is an attempt to systematize the Christian values of the saints, which formed the basis of the cultural and artistic projects of the architecture of medieval Chernigiv and generalize common European, including Slavic-Ukrainian, distinctive traditions of spiritual heritage. They were formed on the basis of pagan mythology, which was transformed into the Christian spiritual world. It was passed down from generation to generation through oral and written culture, preserved in myths, legends, legends, sermons, chronicles, and the Holy

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Dissertations / Theses on the topic "Christian sacred art"

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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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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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Webster, Andrew. "The Embedded Self-Portrait in Italian Sacred Art of the Cinquecento and Early Seicento." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13006.

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Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses

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Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.

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Wheeler, Geraldine Jean, and res cand@acu edu au. "Visual Art, the Artist and Worship in the Reformed Tradition: a Theological study." Australian Catholic University. School of Arts and Science, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp41.29082005.

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The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly dev

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Barush, Kathryn R. ""Every age is a Canterbury pilgrimage" : art and the sacred journey in Britain, c. 1790-1850." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:63e1545c-1362-4bc3-bbc3-b950eecf7c70.

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This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scri

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Ambroselli, Maximilien. "George Desvallières, Georges Rouault, Léon Bloy : vers un art "néo-chrétien" ? (1901-1914)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H027.

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Fruits d’une observation directe de la vie nocturne, les nouvelles peintures que George Desvallières et Georges Rouault exposent au Salon d’automne à partir de 1903 s’imprègnent peu à peu d’un christianisme implicite, en traduisant un profond sentiment de pitié ressenti à l’égard des prostituées et des forains. L’émergence de ce nouveau type de production, à laquelle se trouve rapidement associée la figure du Christ souffrant, semble encouragée par la forte personnalité de l’écrivain Léon Bloy, rencontré par les deux peintres en avril 1904. En privilégiant l’impact émotionnel, Desvallières et

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Meïmaris, Giannis E. "Sacred names, saints, martyrs and Church officials in the Greek inscriptions and papyri pertaining to the Christian Church of Palestine /." Athens : Paris : Research centre for Greek and Roman antiquity, the National Hellenic research foundation ; diff. de Boccard, 1986. http://catalogue.bnf.fr/ark:/12148/cb36632633z.

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Murayama, Eduardo Tsutomu 1981. "A pintura de Jesuíno do Monte Carmelo em São Paulo e Itu : busca dos referenciais iconográficos e novas considerações /." São Paulo, 2016. http://hdl.handle.net/11449/138619.

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Orientador: Percival Tirapeli<br>Banca: Claudete Ribeiro<br>Banca: Ana Maria Netto Nogueira<br>Banca: Mozart Alberto Bonazzi da Costa<br>Banca: Maria José Spiteri Tavolaro Passos<br>Resumo: Esta pesquisa tem como objetivo dar continuidade ao trabalho iniciado na minha dissertação de mestrado, sobre a obra pictórica de Jesuíno Francisco de Paula Gusmão, conhecido na historiografia da arte brasileira como Padre Jesuíno do Monte Carmelo (1764-1819). Apresentada em 2010, os estudos iniciais cobriram as obras do artista então encontradas na Igreja da Ordem Terceira do Carmo de São Paulo e seu proce

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Job, Lynn R. (Lynn Renee). "Elatio: Praises and Prophecies." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935642/.

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ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.

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Books on the topic "Christian sacred art"

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Nielsen, Lavrans. Sacred art of Lavrans Nielsen. Sheed & Ward, 1992.

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Inglott, Peter Serracino. Sacred art in Malta, 1890-1960. Said International, 1990.

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Diane, Apostolos-Cappadona, ed. Art, creativity, and the sacred: An anthology in religion and art. Continuum, 1995.

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Suświłło, Małgorzata, and Grabowski Adam. Art in the public and sacred spheres. Wydawnictwo Uniwersytetu Warmińsko-Mazurskiego, 2015.

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(Exhibition), Sacred icons :. paradise regained. Sacred icons: Paradise regained. Oriel 31, 1991.

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Marianna, Latsē, and Latsðe Marianna, eds. Meta to Vyzantio: The survival of Byzantine sacred art. The Private Bank & Trust Co., Ltd., 1996.

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Wright, Rosemary Muir. Sacred distance: Representing the Virgin. Manchester University Press, 2006.

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Heldman, Marilyn. African Zion: The sacred art of Ethiopia. Yale University Press in association with InterCultura Fort Worth, the Walters Art Gallery Baltimore, the Institute of Ethiopian Studies Addis Ababa, 1993.

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W, Cheetham Francis, Daniel Katz Ltd, and Alabaster Men: Sacred Images of Medieval England (Exhibition) (2001 : Daniel Katz Gallery, London), eds. The alabaster men: Sacred images from medieval England. Daniel Katz, 2001.

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Dietz, Judy E. An expression of faith: Sacred art of centuries past. Edited by Art Gallery of Nova Scotia. Art Gallery of Nova Scotia, 1998.

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Book chapters on the topic "Christian sacred art"

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Leatherbury, Sean V. "Christian Wall Mosaics and the Creation of Sacred Space." In The Routledge Handbook of Early Christian Art. Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-6.

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Welch, Christina, and Fahima B. Rahman. "Islam and Engagements with Nature; Theology and Practice." In Managing Protected Areas. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-40783-3_12.

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AbstractThis chapter explores Islamic engagements with nature both in theology and in lived practice. The lived practice section focusses on the experiences of Fahima (F), an observant Muslim woman living in an urban part of North England. Her reflections on being a Muslim experiencing first-hand National Parks and other nature-based spaces in Britain are put into a broader Islamic focus by considering Islamic ecology more widely by Christina (C), a Religious Studies scholar. Starting by an overview of relevant Islamic theology, this chapter grounds Fahima’s praxis in sacred text and spiritual

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"Secular Art or Sacred Symbols?" In Early Anglo-Saxon Christian Reliquaries. Archaeopress Publishing Ltd, 2022. http://dx.doi.org/10.2307/j.ctv2fcctwc.20.

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Scribner III, Charles. "Sacred Muse: A Preface to Christian Art & Music." In Sacred Muse. Rowman & Littlefield Publishers, 2023. http://dx.doi.org/10.5771/9781538178621-1.

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"Sacred Movement." In Right and Left in Early Christian and Medieval Art. BRILL, 2021. http://dx.doi.org/10.1163/9789004448711_011.

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Oryshkevich, Irina. "Cultural History in the Catacombs: Early Christian Art and Macarius’s Hagioglypta *." In Sacred History. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199594795.003.0012.

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Stone, Alison. "Anna Jameson and Sacred and Legendary Art." In Women on Philosophy of Art. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198918004.003.0006.

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Abstract This chapter examines Anna Jameson’s Sacred and Legendary Art, published from 1845 onwards. Existing scholarship focuses on how Jameson reclaims positive female figures from religious art, but I look at her wider conception of art. For Jameson, art is always expressive of the wider civilization it belongs to, specifically that civilization’s religious beliefs. She distinguishes two great ages of art: classical Greek and Christian Gothic. Because Christian art strains beyond finite expression, it always needs decoding, and Sacred Art provides this decoding for the heritage of European

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Verdon, Timothy. "The Drama of Christian Images: Art, Liturgy, Sacred Theatre." In Performing the Sacred: Christian Representation and the Arts. BRILL, 2022. http://dx.doi.org/10.1163/9789004522183_003.

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Tohme, Lara. "Spaces of convergence: Christian monasteries and Umayyad architecture in Greater Syria." In Negotiating Secular and Sacred in Medieval Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315090597-6.

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"5 Invention and Amplification: Imagining Sacred History." In The Spiritual Language of Art: Medieval Christian Themes in Writings on Art of the Italian Renaissance. BRILL, 2014. http://dx.doi.org/10.1163/9789004283923_007.

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Conference papers on the topic "Christian sacred art"

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Pariláková, Eva. "The mystical meaning of the table in contemporary art. Reinterpretation of the language of giving and receiving." In The Figurativeness of the Language of Mystical Experience. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-23.

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The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky

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JIMÉNEZ-DONAIRE MARTÍNEZ, SALVADOR. "(Des)cansar la Mirada: Un Acercamiento a las Políticas del Ver/Visionar en la Era Digital." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13203.

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Insiste Giorgio Agamben en que cada etapa histórica se distingue por su manera de experimentar la temporalidad (2011, 129). La nuestra, aseguran numerosos pensadores y académicos, estaría definida por la aceleración. Luciano Concheiro declara que este fenómeno explica en buena medida cómo funcionan hoy la economía, la política, las relaciones sociales, nuestros cuerpos y nuestra psique (2016, 11). Vivimos sometidos a un estricto régimen temporal, uno rigurosamente fraccionado en tiempos de trabajo, de ocio, de escolarización, de formación y, en definitiva, marcado por la presión de los plazos

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Trematerra, Adriana. "Fortezze sacre: conservazione e valorizzazione." In FORTMED2025 - Defensive Architecture of the Mediterranean. edUPV. Editorial Universitat Politècnica de València, 2025. https://doi.org/10.4995/fortmed2025.2025.20429.

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The Mediterranean, as is well known, consists of numerous fortified architectures considered to be testimonies of considerable interest by scholars of military heritage, often subject to destruction, reconstruction and abandonment over the centuries. In this scenario, a little-explored issue concerns the combination of military and religious architecture which, over time, led to the creation of real sacred fortifications. Disparate territorial ambits, in the Old and New Worlds and in the East and West, are characterized by the presence of fortified monuments of sacred interest whose constructi

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, ac

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Beuk, Bojana, and Sergej Beuk. "PLAŠTANICA KRALjA MILUTINA: MOTIV VASKRSENjA U ERI DINASTIJE PALEOLOGA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.781b.

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This study is dedicated to researching the significance of the Epitaphios of King Milutin as a kind of cultural and historical heritage, whose stylistic and artistic value places this artifact among the representatives of the main development of Serbian art in the 14th century. The Epitaphios of King Milutin, as a museum derivative of Serbian medieval applied art, symbolizes the canvas with which Joseph of Arimathea embalmed the body of the Savior during the funeral of Jesus Christ. The purpose of the Epitaphios is to point to the very beginning of the Christian religion, centered on the conce

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Oremusová, Daša, Magdaléna Nemčíková, Lucia Petrikovičová, Hilda Kramáreková, and Alfred Krogmann. "Rozvoj obcí v Nitrianskej diecéze v kontexte religiózneho turizmu." In XXV. mezinárodní kolokvium o regionálních vědách. Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.p280-0068-2022-48.

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Religiosity is historically firmly rooted in Slovakia. It also has a historical foundation in the Nitra Diocese, which confirms the establishment of the Nitra Diocese in 880 by Pope John VIII. at the request of Prince Svätopluk. The aim of the article is to analyze the impact of religious tourism on the development of two selected rural municipalities in the Nitra diocese - Pozba and Močenok. From a methodological point of view, the basis was the excerpt of print and electronic information sources of various kinds, results of pilgrimage places questionnaires and their comparative analysis. Cri

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