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Journal articles on the topic 'Christian sacred art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

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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Marjanić, Suzana. "Croatian Sacred Waters." Etnološka tribina 51, no. 44 (2021): 123–43. http://dx.doi.org/10.15378/1848-9540.2021.44.07.

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This article broadly surveys the role of water in Croatian ethnic tradition. Beginning with pre-Christian perceptions of healing (babas or hags) and fairies associated with watery sites, the essay offers a summary of previous works on Croatian water lore. Moving into the present, this article considers water traditions of the Slavic folklore, how these have endured and been renegotiated over time and how they now find expression in contemporary water and river art

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Vaneyan, Stephan. "Before and after the Ikon." CrossCurrents 74, no. 2 (2024): 85–109. https://doi.org/10.1353/cro.2024.a951551.

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Abstract: This paper takes a critical look at the ikonic type of image, the “sacred image” as the “face” of the Eastern Christian tradition and the way it identifies itself, both aesthetically and ideologically. Is the union of the two inevitable and inseparable? Does this union still work? How and when did the ikon become the only possible artistic form of sacred representation for the Eastern Christian tradition? Has the ikon, with its origins in a form of art for which any mimetic (figurative and objective) representation becomes merely one among its many motifs—that is, in decorative art—h

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Kozinchuk, Vitalii. "Emotional, Expressive and Stylistic Features of the Canonical Sacred Painting of Rus-Ukraine of the 13th to the 14th Century." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 29–35. https://doi.org/10.31866/2410-1176.42.2020.207629.

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The article purpose is to analyse the state of scientific learning of the canon of the Ukrainian and foreign studies of art; to find out the emotional, expressive and pictorial style features in the canonical sacred painting of Rus-Ukraine of the 13th to the 14th century. The research methodology is to combine the analytical review and analysis and methods of cognition (to provide an objective analysis of research literature and primary sources that reflect the main trends in the development and functioning of the iconographic canon); sociocultural methodology (the ancient sacred Ukrainian art

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Walls, A. F. "The Western Discovery of Non-Western Christian Art." Studies in Church History 28 (1992): 571–81. http://dx.doi.org/10.1017/s0424208400012699.

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Christianity is in principle perhaps the most syncretistic of the great religions. Unlike Hinduism, it does not have a unifocal religious culture belonging to a particular soil; nor, like Islam, does it have common sacred language and a recognizable cultural framework across the globe. Historically, Christian expansion has been serial, moving from one heartland to another, fading in one culture as it is implanted in another. Christian expansion involves the serial, generational, and vernacular penetration of different cultures.

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Cristian, Gagu. "THE ART OF ICON IN THE CONSTANTINIAN ERA – PATRISTIC FOUNDATION OF THE ICON." Icoana Credintei 10, no. 19 (2024): 5–31. http://dx.doi.org/10.26520/icoana.2024.19.10.5-31.

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The freedom of expression of the Christian faith, acquired by the Church following the edict of Mediolanum, from the year 313, favored the flourishing of church life in all its aspects, including that of sacred art, therefore also of iconography. The one who gave the impetus to this process was, without a doubt, the Holy Emperor Constantine the Great himself. For their part, the Holy Fathers of the Church encouraged the representation in icons of the martyrdom of the holy martyrs and provided, at the same time, the arguments that contributed to the foundation of the presence and role of the ic

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Kimsza, Radoslaw. "LOCUS THEOLOGIAE IN ARCHITECTURE AND SACRED ART – A CASE STUDY." Space&FORM 2023, no. 56 (2023): 499–512. http://dx.doi.org/10.21005/pif.2023.56.e-03.

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The article, in the theological and philosophical key, shows the Christian understanding of beauty and its place in the broadly understood sacred art. The author points to a specific evolution of beauty, which from the Renaissance to modern times lost its original mysticism of beauty in favor of its individualistic interpretations, closing the need to find divine-human unity in sacred art. This is expressed in the liturgy and the eternal connection with it of the arts, both structural and expressive. Looking for patterns reaching the essence of beauty in sacred arts, the author brings out two

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Gustafsson, Daniel. "Beyond Making and Unmaking: Re-Envisioning Sacred Art." Religions 10, no. 2 (2019): 89. http://dx.doi.org/10.3390/rel10020089.

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This paper engages with predominantly Eastern Orthodox thinkers in reassessing the conditions under which sacred art may be possible today. The sacred has both ontological and cultural aspects. An artwork is sacred, firstly, by virtue of partaking of transcendent realities; and secondly, by being embedded in a worldview which allows the work to be made and received as sacred. Drawing on the thought of Philip Sherrard, the paper suggests that current conditions are characterised by cultural forgetting and the loss of such a metaphysical worldview. This paper proposes that the possibilities of s

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Kyfenko, Anna, and Tetyana Romanova. "FEATURES OF WORK WITH SACRED CHORAL WORKS IN THE CLASSES OF THE EDUCATIONAL CHORAL COLLECTIVE." Collection of Scientific Papers of Uman State Pedagogical University, no. 2 (June 29, 2022): 148–54. http://dx.doi.org/10.31499/2307-4906.2.2022.262954.

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The article analyzes the problem of working with sacred choral works in classes of an educational choir. The role of religious and spiritual culture and sacred choral art is covered. Domestic national values and priorities in the current conditions are outlined. The importance of sacred choral music in the repertoire of the student choir is also substantiated; the system of Christian values based on the Holy Scriptures, and the conciliar spiritual experience of the Church is singled out. The norms of phonetics of hymns in the Church Slavonic language are outlined, it is noted that the texts of

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Mitri, Monica. "“Then He Stabbed Me with a Spear”: Aggressive Sacred Images and Interreligious Polemics." Method & Theory in the Study of Religion 34, no. 1-2 (2021): 86–104. http://dx.doi.org/10.1163/15700682-12341532.

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Abstract This paper studies Coptic communal identity in early Islamic Egypt by analyzing two hagiographical narratives from the Christian Copto-Arabic text The History of the Patriarchs of Alexandria. The narratives relate incidents of sacred images that become ‘aggressive’ when they retaliate against insults. Although the relation between religious violence and sacred art has merited much scholarly attention, the focus is usually on humans as the aggressors and sacred art as the victim. The reverse is scarcer, and its rarity means we miss an opportunity to rethink such narratives as communica

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Melnychuk, Maksym. "Ajornamento sacred art of Catholicism in the context of philosophical analysis." Ukrainian Religious Studies, no. 66 (February 26, 2013): 364–71. http://dx.doi.org/10.32420/2013.66.284.

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An alternative to the traditional religious and religious art was the time, which, especially in the XX century, began to intensively transform the entire arsenal of sacred art into the art at a fast pace. All changed - architecture, fine arts, music, literature ... There were new types of art, and traditional ones, under the pressure of socio-economic changes and globalization processes, experienced significant deformations in both form and content. Extrapolation of these tendencies to the life of the Christian church and its sacred inspiration in religious art caused a violent reaction, oppo

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Lazorevich, Irina. "SACRALITY IN THE DIVERSITY OF MODERN LITERATURE: HUMANISM OR VALUE DESTRUCTIVENESS?" Sophia. Human and Religious Studies Bulletin 16, no. 2 (2020): 28–33. http://dx.doi.org/10.17721/sophia.2020.16.6.

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In a secularized society, on the base of the rapid development of technologization and globalization, we also observe an intensive "return" of the sacred. It "returns" with the growth of nostalgia for the personalism of social relationships. And this return is reflected, in particular, through the phenomena of contemporary art – some of them are filled with appropriate symbolism and emotional atmosphere. Undoubtedly, there is no historical period, which would be characterized by complete secularization and the absence of any sacredness. However, in the modern era, the uniqueness of the sacred

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Nežinská, Emma. "Voices from altarpieces: Making sense of the sacred." Human Affairs 28, no. 1 (2018): 88–97. http://dx.doi.org/10.1515/humaff-2018-0008.

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Abstract The article is a cultural-philosophical response to Ivan Gerát’s Legendary Scenes and his art history interpretation of the function of Slovak hagiographic pictorial art of the Late Middle Ages. The thrust is on paintings of Christian ethical extremism, reflected in the principle of imitatio Christi. It led to the deaths of martyrs and saints in the name of the Faith. The preponderance of brutal scenes involving the tortured human body in this period art is examined in detail and it is suggested that these portrayals are disincentives that put off the mass culture beholder. The contex

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Syvak, V. "THE DEVELOPMENT OF THE EUCHARISTIC THEME IN UKRAINIAN CULTURE IN THE BAROQUE PERIOD AT THE END OF THE 17th - 18th CENTURIES: EASTERN CHRISTIAN TRADITION AND INFLUENCE OF WESTERN EUROPEAN ART." POLISH JOURNAL OF SCIENCE, no. 63 (June 16, 2023): 7–11. https://doi.org/10.5281/zenodo.8046030.

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The article highlights the influence of Western European cinema art. XVII - XVIII centuries on Ukrainian sacred art, the basis of which is icon painting. Attention is focused on Eucharistic iconography in Ukrainian church art of the given period. The complex of components of the Baroque style, which permeated Ukrainian culture and expressed its worldview basis, was considered, and what is important, the role of Eucharistic symbolism and its use in various sections of sacred art in general, as well as the role of symbolism in Ukrainian sacred art, were outlined. The figurative essence and indiv

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Zhao, Xing. "Reshaping Sacred Spaces: Experimental Video Installation Art in Multireligious Venues." Advances in Humanities Research 9, no. 1 (2024): 69–76. http://dx.doi.org/10.54254/2753-7080/9/2024112.

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In contemporary Europe, the dialogue between contemporary art and religion is becoming increasingly frequent. It has become a widespread phenomenon in France to exhibit contemporary art installations and works in religious venues, such as monasteries, chapels, churches, temples, and synagogues. Meanwhile, within a globalized context, religious spaces in China are also transforming toward more diverse uses. Video installation, as a rapidly evolving and highly significant branch of contemporary art, offers a specific avenue for exploring this trend due to its unique expressive approach, presenta

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Trubitsina, Natalia. "The Еaster Аrchetype in the Story of Ivan Bunin “Lyrnik Rodion”". Проблемы исторической поэтики 20, № 3 (2022): 169–85. http://dx.doi.org/10.15393/j9.art.2022.10822.

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The article analyzes the story of I. A. Bunin “Lyrnik Rodion” in the context of the Christian spiritual tradition. The musical creations of folk performers reflected in the “Lyrnik Rodion” evokes from oblivion the native folk culture of Malorussia (Little Russia), gradually fading into the shadows against the background of the intensive development of a spiritually decaying civilization. The performance of folk songs brings back to memory the old days when the Zaporozhian Sich was a stronghold of the Christian faith. The song chronotope expands the metaphysical space of Little Russia to the Da

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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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Pirro, Michela. "The Post-War Reconstruction of the Ecclesiastical Building in Italy." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 50–67. http://dx.doi.org/10.17979/aarc.2019.6.0.6227.

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Although we consider the Second Vatican Council the final destination of a path of renewal for the history of contemporary sacred art, it is, however, necessary to focus on its preparatory phase during the years of post-war reconstruction.Though the first impulse to this process was given with the institution of the Pontifical Central Commission for Sacred Art (PCCSA), strongly desired by Pius XI, whose purpose was to maintain «a sense of Christian art», the key figure for the formation of the artists first, and then for the complex task of directing the reconstruction works of all the ecclesi

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SHAPOVALOVA, LIUDMYLA, NATALIYA GOVORUKHINA, VIKTORIIA ZINCHENKO, NADIIA VARAVKINA-TARASOVA, and LARYSA DERKACH. "THE “CHERUBIM SONG” GENRE IN UKRAINIAN MUSICAL CULTURE." AD ALTA: 13/01-XXXII. 13, no. 1 (2023): 148–53. http://dx.doi.org/10.33543/130132148153.

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The genre of the Cherubim song is considered in the art criticism and socio-cultural (spiritual) planes. The study of variations of the Cherubic Hymn proposed by various authors from the liturgy of John Chrysostom to contemporary compositions by Lesya Dichko – was carried out. In general, the study was conducted in the landscape of Ukrainian sacred choral music and Christian spirituality emboedied in church music.

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Polshchak, Aneliya. "Preraphaelites and Christian Literature Renewal in Great Britain." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 115–19. http://dx.doi.org/10.18523/2618-0537.2022.3.115-119.

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The article considers about the general tendencies of Christian and Catholic art renewal in Great Britain. This movement is the part of the wider one i.e. Christian art renewal, which is the important phenomenon in all western literatures and cultures (Francois Mauriac, Georges Bernanos, Julien Green, Paul Claudel, Charles Péguy, Gertrud von Le Fort, Heinrich Boll, Sigrid Undset, Graciya Deledda, Ramiro de Maeztu, Hose Bergamin, Miguel Unamuno, Maurice Denis, Paul Gauguin, Georges Rouault, Francis Jean Marcel Poulenc, Arthur Honegger, Olivier Messiaen, etc.) English Christian and Catholic Rene

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Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY." Study of Religion, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.

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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives

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Bigaj-Zwonek, Beata. "Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem." Perspektywy Kultury 28, no. 1 (2020): 149–66. http://dx.doi.org/10.35765/pk.2020.2801.12.

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Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transformation of the 1980s, they became a way to articulate

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Gudzenko-Aleksandruk, Olena. "Mythic-symbolic interpretation of spiritual reality in Christian tradition and moral growth of personality of believer." Ukrainian Religious Studies, no. 73 (January 13, 2015): 279–84. http://dx.doi.org/10.32420/2015.73.535.

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In this article the main stress is on the fact that symbol and myth are the means of the formation of personality and the realization of person’s spirituality in Christianity. It is also observed that sacred symbolism and art represent people’s attitude to God and provide psyche of the faithful with cathartic emotional processes.

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Adkins-Jones, Amey Victoria. "Couwenbergh’s The Rape of the Negress." Meridians 22, no. 1 (2023): 146–68. http://dx.doi.org/10.1215/15366936-10220524.

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Abstract This essay analyzes Christiaen van Couwenbergh’s The Rape of the Negress (1632). The author argues the image as theological artifact, capturing the emergence of a white colonial gaze and the Dutch state concern of Christian piety as an emerging colonial power. The article reviews the context of the image and the art reception history that resisted naming it an image of rape. The author juxtaposes the painting with a Marian statue hidden and thus saved from the Dutch iconoclasm—now one of the most famous Black Madonnas in Europe—to locate theologically the process of colonial unseeing

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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.

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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches o

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Bogdanova, Galina, and Liana Galabova. "Barriers to the Digital and Physical Accessibility of the Religious Cultural Heritage of Holy Mount of Sofia." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 105–24. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_012.

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Accessibility of religious centres and their additional hierotopical natural and architectural spaces, although implied by virtues of responsibility, solidarity, care, charity, and love, does not seem to be internal characteristic priority in confessional specifics of socialisation of private and public places by Eastern Orthodox Christian Church. Management of living heritage (traditional and reconstructed), as well as of tangible (movable and immovable) church cultural heritage, of artworks and art performances according to their artistic value, and of feasts and practices, according to thei

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Dodlek, Ivan. "Spirituality of Artistic Service." Religions 14, no. 9 (2023): 1184. http://dx.doi.org/10.3390/rel14091184.

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In the document Letter of his Holiness Pope John Paul II to Artists, John Paul II pointed out that artists, with their creation, perform a professional social service for the benefit of the common good through the “spirituality of artistic service”, which, through the perspective of “educational art,” contributes to the life and revival of the individual and society. Since that document does not specify what a model of such spirituality would consist of, the goal of this paper is to offer a proposal for the theoretical elaboration of its potential framework. The topic is discussed from the per

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Bosch, Rozelle (Robson). "Carcass and cross: Discovering the sacred in the secular." Theology 121, no. 4 (2018): 252–60. http://dx.doi.org/10.1177/0040571x18765425.

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The body is a dialogical, incarnational and sacramental entity. But how may the Christian imagination conceptualize and depict this fact? This contribution uses a provocative piece of art as a modern framing of the constant intersection of the sacred and secular. It starts by looking at Merleau-Ponty’s phenomenology of perception, continues to discuss Luce Irigaray’s notion of the sensible transcendental and then concludes by way of feminist metaphysics. It is argued that these three schools of thinking provide a helpful framework with which to unpack the theological nuances in Pyotr Pavlensky

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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.

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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические пери

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Đorđević, Zorana, Dragan Novković, and Marija Dragišić. "Intangible Mosaic of Sacred Soundscapes in Medieval Serbia." Acoustics 5, no. 1 (2022): 28–45. http://dx.doi.org/10.3390/acoustics5010002.

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Religious practice in Serbia has taken place using both indoors and outdoors sacred sites ever since the adoption of Christianity in medieval times. However, previous archaeoacoustic research was focused on historic church acoustics, excluding the open-air soundscapes of sacred sites. The goal of this review paper is to shed light on the varieties of sacred soundscapes that have supported the various needs of Orthodox Christian practice in medieval Serbia. First, in relation to the acoustic requirements of the religious service, we compare the acoustic properties of masonry and wooden churches

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López-Arias, Fernando, and Juan Rego. "Hugo Schnell’s 'votum' for the Liturgical Preparatory Commission of the Second Vatican Council (1961)." Actas de Arquitectura Religiosa Contemporánea 11 (September 5, 2024): 2–21. http://dx.doi.org/10.17979/aarc.2024.11.11183.

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The Munich art historian and publisher Hugo Schnell (1904-81) was appointed in 1961 as an external consultant to the Liturgical Preparatory Commission of the Second Vatican Council (1960-62). He was asked to collaborate in the drafting of the chapter on sacred art of the future constitution Sacrosanctum Concilium. To this purpose, Schnell wrote an extensive votum (report). In it, among other topics, he urges ecclesiastical clients to respect contemporary culture and styles, stresses the importance of prudence in this area and the need to cultivate an objective Christian mentality among artists

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Osadcha, O. A. "Strategies of Representing Christian Imagery And Motives in the Art of Kharkiv in the Late Soviet Period." Culture of Ukraine, no. 71 (April 2, 2021): 100–110. http://dx.doi.org/10.31516/2410-5325.071.13.

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The aim of the study is to define the multiplicity and specificity of the approaches of the Kharkiv artists of the 1960s — 1980s to the visualization of Christian imagery and motives. Research methodology is based on the combination of general scientific methods of systematization, classification, synthesis, and specialized ones, related to the field of art history, namely formal and comparative, iconological and compositional analysis. Results. The paper is focused on the specificity of functioning of the religious theme in the fine art of Kharkiv of the 1960s — 1980s. It’s emphas

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Gavrilovic, Andjela. "On the sacral meaning of the musical instrument and the role of prophet David in the scene of the Death of the Rigtheous man. A contribution to the study of the visual representations of musical instruments in the east-Christian sacral art." Muzikologija, no. 27 (2019): 277–302. http://dx.doi.org/10.2298/muz1927277g.

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The Old Testament prophet David was known in sacred history as the King of Jews, as a prophet, the compiler of the Psalter, but also as a musician. Therefore, he is usually depicted with certain musical instruments in his hands in Eastern Christian art that illustrates sacred history or the biblical narrative. Although the representations of musical instruments in the art of the lands under the Byzantine cultural and spiritual influence have been minutely analysed, the existing art still provides opportunities for further research. Until present day most attention was given to the organographi

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Kondratyeva, Iryna, and Iryna Fenno. "THE PLANT IMAGERY IN THE AESTHETICS OF THE CULT PRACTICE OF THE ARMENIAN APOSTOLIC CHURCH." Sophia. Human and Religious Studies Bulletin 20, no. 2 (2022): 28–31. http://dx.doi.org/10.17721/sophia.2022.20.6.

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The article is devoted to the study of plant imagery as an important aesthetic-semantic component of the cult practices of the Armenian Apostolic Church. The Armenian Apostolic Church is not only a unique, ancient institution among the circle of Christian churches, but also represents an original cultural world, manifested in a cult rich in its theological content and artistic form, that's why it deserves to be present in the religious studies, aesthetic, cultural, historical research discourses. Using textological, semiotic and phenomenological methods, the authors analyze the implicit conten

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Alkholy, Inas. "The Presence of Secular Books: In Raphael’s Fresco: The School of Athens." Comparative Islamic Studies 2, no. 1 (2008): 51–65. http://dx.doi.org/10.1558/cis.v2i1.51.

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This paper studies the presence of the secular book in visual art during the Italian Renaissance. It is the age of humanism, in which the image of the book was changed to be a symbol of secular knowledge. For more than twelve centuries, the book was present in art to represent the Holy Bible. It was utilized in Early Christian, Byzantine and Medieval art to show the sacred principles and the power of the church in people’s lives.  Although the Arabs began translating the classical works of Plato, Aristotle and others as early as the eighth century, their role in European Renaissanc

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Maslova, V. A. "SACRAL, SPIRITUAL AND ENERGY IN THE RUSSIAN WORD." Metaphysics, no. 3 (December 15, 2023): 80–88. http://dx.doi.org/10.22363/2224-7580-2023-3-80-88.

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The article is devoted to the analysis of the Russian word in different hypostases: 1) energetic, 2) sacred and 3) spiritual ones. The research deals with the Christian worldview focused on syncretic knowledge about God, the world and man. The article emphasizes the idea that not culture, but religion should be recognized as the most important category in a person's life, which determines traditions, customs, human behavior and religious identity. Language, which is a living product of the spirit, its most important activity and a number of other types of activity - art, philosophy, science, -

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Thi Vu, Thu Huong, and Tuan Dung Nguyen. "Vietnam." Actas de Arquitectura Religiosa Contemporánea 8 (December 21, 2021): 28–47. http://dx.doi.org/10.17979/aarc.2021.8.0.8850.

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In the 16th century, the first Spanish and Portuguese Dominican missionaries arrived in Southeast Asia, included Vietnam, but only after the first decades of the seventeenth century, Christianity began to take hold and lived through different episodes of the Proclamation of the Christian faith: first it was tolerated and then abandoned by the dynasties, supported by the colonialists, declined in the north by the communists, it expanded in the south under the Republic of Vietnam and stabilized until now after the reunification of the country followed by a long breakage due to political change.

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Sobczak, Kamil. "The Transition from the Temple of Jupiter to the Great Mosque of Damascus in Architecture and Design." Studia Ceranea 5 (December 30, 2015): 311–20. http://dx.doi.org/10.18778/2084-140x.05.10.

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Great Mosque of Damascus was built between 705 and 715 by the Umayyad Caliph al-Walid I. However, the origins of this building dates to the distant past. At first it was a location of an ancient Aramaean temple dedicated to the god Hadad. With Hellenization the temple was dedicated to Zeus and in the first century BC the Romans transformation it into the Temple of Jupiter Damascenus. In 391 Emperor Theodosius converted the temple into Christian Cathedral of Saint John. Erection of the mosque by Caliph al-Walid I was under strong influence of earlier constructions. Meaning and consequences of s

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Shevchenko, Liliia. "Sacred Origins of the Instrumental Multiplicity of the Musical Performances as Signs of Piano Playing." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 163–69. https://doi.org/10.31866/2410-1176.42.2020.207646.

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The purpose of the article is to identify the sacred and genetic features of instrumentalism, piano in particular, as the embodiment of Christian-vocal modelling of the play-breathing (mozartianism) and the revival of the original selfsignificant rhythmic and sound principle in the piano orchestration (beethovenianism). The research methodology is the phenomenological perspective of R. Ingarden’s aesthetics and philosophy and phenomenologically oriented art studies of B. Аsаfiev, N. Коryhаlоvа, V. Меdushevskij, E. Маrkоvа, and others, analysis, synthesis, and distributive methods, which

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Toporkov, D. "Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite." Culture of Ukraine, no. 85 (September 25, 2024): 15–22. http://dx.doi.org/10.31516/2410-5325.085.02.

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The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gap

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Dimitrova, N. I. "The inn as a place of confession. On a feature of the art world of Dostoevsky." Solov’evskie issledovaniya, no. 1 (March 31, 2021): 80–94. http://dx.doi.org/10.17588/2076-9210.2021.1.080-094.

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The object of study of the article is both the place that the word of confession occupies in the work of Dostoevsky and the place in which the word of confession itself is pronounced by the characters of the writer. As a literary form, confession is an inheritor of the Christian tradition, but subsequently the original intention to repent became unrecognizable among many other motives. The article notes that Dostoevsky's secularization of this religious motif took on a very specific form, associated with his famous romantic dream of seeing the world as a monastic dormitory; of uniting the secu

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