Journal articles: 'Christian symbolism'

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Kilku Lee. "Christian Symbolism in Hemingway’s Works." Jungang Journal of English Language and Literature 49, no. 1 (March 2007): 191–203. http://dx.doi.org/10.18853/jjell.2007.49.1.011.

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Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (February 2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description of the numbers in a literary text, 2) the correlation of these numbers with the tradition of number symbolism, 3) the interpretation of the meaning of number symbolism, which is an integral part of literary work. The article also distinguishes between two concepts — that of the number image and of the image of number, and substantiates the differences in interpretation of such images. Theoretical notions are supported by the interpretation of number symbolism in the poems of Boris Pasternak, Zinaida Gippius and Alexander Blok, where it is presented explicitly. Other images, motifs and concepts presented in the literary works augmented and added complexity to the tradition of gospel number symbolism in the poems of these authors.

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Montgomery, John Warwick. "Christian Concern UK: Evangelicals contra Irreligion in an Increasingly Secular Britain." Evangelical Quarterly 88, no. 1 (April 26, 2016): 89–95. http://dx.doi.org/10.1163/27725472-08801006.

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Christian Concern and its litigation arm have in recent years been the most vocal spokespersons for conservative evangelicalism in Britain’s political and legal arenas. Founded by former practicing barrister Andrea Williams within the Lawyers’ Christian Fellowship (Horace Rumpole’s ‘Lawyers as Christians’), it has actively promoted the evangelical agenda and taken legal cases as far as the European Court of Human Rights in Strasbourg. Among its concerns are: fighting abortion, euthanasia, assisted suicide, and same-sex marriage and parenting; and defending Christian practices in the public square such as personal evangelism, the employment of Christian symbolism, and the distribution of Christian literature. This article briefly evaluates Christian Concern’s biblically-orientated program, degree of success, and future prospects.

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Kolbutova, Irina. "Interrelation of Platonic and Jewish-Christian Aspects of the Symbolism of the Cross in the Apocryphal Acts of the Apostles, Church Fathers and Christian Iconography." Scrinium 13, no. 1 (November 28, 2017): 309–38. http://dx.doi.org/10.1163/18177565-00131p21.

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Considering the symbolism of the cross in the Apocryphal Acts of the Apostles, scholars interpreted it in terms of Platonic and Gnostic influences. In this article I made an attempt to demonstrate a more profound ancient mythological and Jewish-Christian mystical background of this symbolism, which can be traced later in Christian Patristic writings and iconographic patterns.

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Zeddies, Michael. "An Origenian Background for theLetter to Theodore." Harvard Theological Review 112, no. 3 (July 2019): 376–406. http://dx.doi.org/10.1017/s0017816019000178.

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AbstractTheLetter to Theodoremay need to be reattributed to Origen of Alexandria. Many of its features seem demonstrably Origenian, and its language aligns with early Christian and Origenian usage. Two noncanonical gospel fragments in the letter do not betray a modern author, but rather evoke early Christian symbolism and narrative structure. The single garment worn by a character in the first fragment reflects Christian symbolism and resembles the philosopher’s garment, which many early Christians adopted and portrayed in material artifacts. Origen’s intellectual interests can explain the letter’s preparation for philosophical exegesis, and its language reflects his text-critical practice. Nevertheless, Origen’s circumstances indicate the text of the noncanonical gospel fragments is unreliable. The letter also echoes Papias in the manner that Origen does. Morton Smith’s account of its discovery does not betray a forgery or hoax, but plausibly depends on other nonfiction works of manuscript discoveries written during the 1960s. Further work may be needed to secure attribution, but Origenian authorship is a simpler explanation of the evidence than modern forgery.

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Suprianto, Bibi, Andi Alfian, and David Kristanto. "Fish in Faith: Exploring Symbol as Survival Strategies in Christianity." Religious: Jurnal Studi Agama-Agama dan Lintas Budaya 6, no. 3 (December 25, 2022): 293–304. http://dx.doi.org/10.15575/rjsalb.v6i3.15610.

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This study explores the history of one of the important symbols in the Christian tradition, namely the history of the fish symbol. This study argues that the fish symbol is one of the survival strategies for Christians to survive and contest with other groups in the socio-religious context at that time. Thus, this study formulates research questions such as how is the history of fish in the Christian tradition? How does the fish symbol become a medium of survival and resistance? Does the fish symbol have any relevance in the history of Christianity in Indonesia? This research uses literature study, which means relying on written literature discussing fish symbolism in Christianity's history. The results of this study indicate that the symbolization of fish in Christian history can not only be seen from the theological aspect but also from the socio-historical aspect as a survival strategy. Furthermore, the research material is structured with the following framework: the first part discusses the history and meaning of the fish symbol as a savior and unifier in ancient Christianity; the second part discusses the symbolic significance of fish as the spread of Christianity in Indonesia; the third part, symbolism as a strategy to survive both in the form of acculturation and religious-cultural identification in the context of religion and culture. In short, the symbolism of fish in the Christian tradition is very complex, containing theological content and historical-social-cultural. By understanding how symbolization works in religious traditions, we, therefore, can understand how religion in all its aspects developed from the past to the present, and also to the future.

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Paczkowski, Mieczysław Celestyn. "Wczesnochrześcijańska symbolika o charakterze ponerologicznym. Wybrane przykłady." Vox Patrum 59 (January 25, 2013): 39–65. http://dx.doi.org/10.31743/vp.4014.

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Ponerology is devoted to the study of evil in its different aspects. Indeed, also in the early Church it was created a kind of ponerological symbolism. This short study analyses some of these significant traditionally interpreted symbols. In the Christian symbolism holiness is full of fragrance, however the demons and sins emit a terrible odor. The symbolic value of darkness covers the negative aspects of human ignorance, evil, disbelief, danger and death. The fire represents not only illumination and light, but it has the punitive value. The serpent is first mentioned in connection with the history of the temptation and fall of the humanity. In the Christian tradition the serpent or the „dragon” represents Satan, the malicious enemy. Babylon symbolizes all that is worldly and fell away from God. St. Augustine sees the world in which he lives as a mixture of the city of confusion and the city of heaven (Jerusalem). In the ponerological symbolism appears Amalek. The Fathers equated them with passion or evil. The faithful of Christ always fights against him. In Origen this approach is much more clearly defined in his explicitly spiritualizing reading. The ponerological symbolism of the ancient Christian literature contained a moral or religious lessons or allegories.

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Lyubov’ O., Sviridova. "The Twin Myth in the East Christian manuscripts." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 81–86. http://dx.doi.org/10.30725/2619-0303-2022-1-81-86.

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The article reveals a layer of archaic images and representations associated with the mythological motif of twinning in the East Christian post-Canonical manuscripts. The Christian interpretation of the mythologem of twinning is investigated based on the analysis of the semantic structure of Eastern Christian texts, in the first place - the texts devoted to the hagiography of St. Thomas, and other Old Russian manuscripts. А number of the sources under consideration have the status of liturgical texts. Such mythopoetic paradigms as similarity in the biography of twins, bodily markers of twinhood, the motif of the confrontation of twins: the hero and the trickster, the female hypostasis of the twin, the mythopoetic of the name and numerical symbolism are revealed. The Eucharistic symbolism of the touch gesture, which has become key in Eastern Christian imagery, is considered.

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Mamiev, M. E. "Solar symbolism of Christian crosses of medieval Alanya." Vestnik of North-Ossetian State University, no. 4 (December 25, 2019): 60–65. http://dx.doi.org/10.29025/1994-7720-2019-4-60-65.

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Brandt, Olof. "The Symbolism of Water in Early Christian Baptisteries." Current Swedish Archaeology 11, no. 1 (June 10, 2021): 11–24. http://dx.doi.org/10.37718/csa.2003.01.

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The symbolism of water in the Early Christian baptisteries was not expressed in the architecture of the building but rather in its decoration. This article illustrates the references to water in the sculptures and inscriptions of the fourth and fifth-century phases of the Lateran baptistery in Rome. This decoration shows that the water was a symbol ofboth li fe and death: the death of the sinner and the life of God, to which baptism gave access.

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KNIEPS-PORT LE ROI, Thomas. "Christian Symbolism of Marriage and its Usefulness Today." INTAMS review 15, no. 1 (June 30, 2009): 12–22. http://dx.doi.org/10.2143/int.15.1.2042593.

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Hubbard, Scott. "An Implicit Theology of Mad Men." Religion and the Arts 24, no. 4 (October 26, 2020): 415–30. http://dx.doi.org/10.1163/15685292-02404004.

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Abstract One of the most striking sites of secular-religious encounter in narrative fiction of the decade has been the baptismal imagery of the television serial drama Mad Men. Set in an era which may be said to be the high-water mark of the secularization of American culture, Mad Men’s encoding of meaning in symbolic representation in effect re-sacralizes the secular world into which those symbols are transplanted. The symbolism’s divergences from Christian doctrine and ritual that give Mad Men its distinct theological significance. This paper will explore the literary implications of Paul Ricoeur’s theory of religious symbolism. This paper conducts several close readings of key moments in the show’s use of baptismal symbolism, and offers thoughts about how Mad Men’s constellation of originally religious symbols to convey narrative significance empowers the show to perform a religious function for its audience.

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Bugaev, Vasily Ivanovich. "V.S. Solovyov’s characters of Christian ideal in the humanization process of Russian artistic education." Samara Journal of Science 5, no. 2 (June 1, 2016): 146–49. http://dx.doi.org/10.17816/snv20162302.

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The article explores the development of Russian culture and education symbolism at the end of ХІХ in a question about Filioque. The prominent Russian thinker V. Solovyov considered that the unity of spirituality of Christian ideal faith was carried out in the unity of catholic and orthodox Christian churches. He doubted the question of division of Character of Vera perception. V. Solovyov notified the ideal of iconographic art, which was fundamental conception of development of Russian artistic culture and education. Semantic Christian character-kernel is an interpretation of our Hail Mary for us. The ideal of this character is incarnated in the divine beginning through the free exploit of man, adding the faith in Godman and God-flesh (Hail Mary) to the faith in God. This ideal was announced by F. Dostoevsky. The trinity of Christian ideal must have become the background for conscious spiritual development of Russia and all humanity. Essence of beauty symbolism is perceived in the actual available phenomena - nature and art. The conception of Sofia - Wisdoms of God character influenced the development of the Russian artistic culture and modern education. The character overflows in concepts: reasonable essence, Divine Bosom, Eternal femininity, Basis, law of life, reason, connection of God and created World. The character of Sofia is oriented to the Russian culture and education development, as a future and final phenomenon of Deity. As a founder of Russian Christian philosophy V. Solovyov defined subsequent motion of symbolism of Christian ideal in the synthesis of Orthodox, revivalist and comparative trends. We notice positive motion in Russian modern artistic education.

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Sergeeva, Valentina S. "Food Symbolism in the World of Vision of Piers Plowman." Studia Litterarum 6, no. 2 (2021): 28–49. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-28-49.

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W. Langland’s allegorical poem Vision of Piers Plowman is one of the key works of the medieval religious literature. Scenes of eating or drinking are among its most important episodes. The sacral meaning of food in the poem originates in the context of medieval theology appearing around certain evangelic images (“I am the bread of life,” etc.) Each time when the characters eat or drink the realization of Christian dogmas is having place, or, on the contrary, they are refused, because the abundance of “daily bread” leads to spiritual deafness. Gluttony goes hand in hand with hypocrisy, and in the world of the poem it appears not only as over-eating but also as rejecting any real Christian practice. A glutton wastes goods he could give out to the needy, as well as the treasures of his soul; and if he is of the learned, he deprives the “little ones” of their spiritual repast, too. W. Langland includes everyday events and doings into the supertemporal Bible narrative, thus actualizing them for all his Christian readers. As the result of such text organization, food-related episodes appear to be linking spots for the main themes of the poem (Christian life, charity, love, knowledge).

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Sergeeva, Valentina S. "Food Symbolism in the World of Vision of Piers Plowman." Studia Litterarum 6, no. 2 (2021): 28–49. http://dx.doi.org/10.22455/2500-4247-2021-6-2-28-49.

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W. Langland’s allegorical poem Vision of Piers Plowman is one of the key works of the medieval religious literature. Scenes of eating or drinking are among its most important episodes. The sacral meaning of food in the poem originates in the context of medieval theology appearing around certain evangelic images (“I am the bread of life,” etc.) Each time when the characters eat or drink the realization of Christian dogmas is having place, or, on the contrary, they are refused, because the abundance of “daily bread” leads to spiritual deafness. Gluttony goes hand in hand with hypocrisy, and in the world of the poem it appears not only as over-eating but also as rejecting any real Christian practice. A glutton wastes goods he could give out to the needy, as well as the treasures of his soul; and if he is of the learned, he deprives the “little ones” of their spiritual repast, too. W. Langland includes everyday events and doings into the supertemporal Bible narrative, thus actualizing them for all his Christian readers. As the result of such text organization, food-related episodes appear to be linking spots for the main themes of the poem (Christian life, charity, love, knowledge).

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Gockel, Matthias. "Redemption and Transformation." Religion and the Arts 20, no. 4 (2016): 419–41. http://dx.doi.org/10.1163/15685292-02004001.

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The article discusses Richard Wagner’s last music-drama, which today is the traditional Good Friday “opera” in New York, Vienna, and other venues around the globe. I argue that Parsifal utilizes traditional Christian symbols and thereby transforms them, in order to help transform the world of the audience. The first part of the article summarizes the dramatic conflict and analyzes how the work appropriates the Christian symbolism of the Lord’s Supper. I also look at Wagner’s essay “Religion and Art,” which was written during the composition of Parsifal and presents an ethical critique of Christianity in the name of “true religion.” The second part of the article presents two assessments of Parsifal, both of which acknowledge its inherent religious symbolism but come to different conclusions regarding its significance (Christian versus atheistic). The third part of the article offers an alternative interpretation and implies trajectories for further research.

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Pencak, William. "Christian Symbolism and Political Unity in the English Reformation." American Journal of Semiotics 10, no. 1 (1993): 85–100. http://dx.doi.org/10.5840/ajs1993101/217.

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Ahokas, Pirjo. "Jewish/Christian symbolism in Bernard Malamud's novel God's grace." Nordisk Judaistik/Scandinavian Jewish Studies 7, no. 2 (September 1, 1986): 84–91. http://dx.doi.org/10.30752/nj.69408.

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Besides being one of the major American authors of the postwar period, Bernard Malamud is also one of the leading representatives of contemporary Jewish fiction. When God's Grace was published, it received very mixed reviews and the novel is likely to remain one of Malamud’s most controversial books. Part of the audience’s puzzlement derives from the fact that with its grotesque characters and strange events God’s Grace seems to defy definition. The novel is filled with literary references and biblical symbolism that mainly draws on Genesis and on the apocalyptic tradition fused with elements of Messianism. The author discusses the genre problem of God’s Grace by outlining some of its background in contemporary America fiction and then analyzing the meaning and effect of Malamud’s use of Jewish/Christian symbolism to enhance the valuable aspects of the Jewish inheritance.

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Wade, Janet. "The eternal spirit of Thalassa: The transmission of classical maritime symbolism into byzantine cultural identity." Journal of the Australian Early Medieval Association 14 (2018): 51–69. http://dx.doi.org/10.35253/jaema.2018.1.4.

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In antiquity, the sea held an important place in the hearts and minds of those living in the Mediterranean region, and maritime motifs were popular across a range of literary and artistic genres. Classical maritime imagery was transmitted almost seamlessly into early medieval and Byzantine cultural identity, despite its overt polytheistic connotations. Mosaics depicting maritime deities and mythological seafaring scenes were installed in private residences and Christian churches. Poets wrote of Fortune steering the ship of life and orators spoke of leaders at the helm of their state. Didactic and ecclesiastical texts taught of the corrupting nature of merchants and the sea, and compared the trials and tribulations of everyday life and faith with storms and squalls. The Christian church also became viewed as a ship or safe harbour. Seafaring imagery was regularly imbued with both traditional and contemporary religious, political, and cultural relevance. This paper argues that the ongoing popularity of maritime symbolism was not only a throwback to classical times or because seafaring themes had a greater relevance to Christians than non-Christians. Thalassa (the Sea) had always been important in Greek and Roman thought, and she acquired a more tangible and pervasive presence in the lives of those in the late antique Roman East. Unlike Rome, the eastern capital at Constantinople was itself a great maritime entrepot. The maritime cultural milieu that dominated coastal Mediterranean regions played an influential role in the city and its far-reaching empire. Constantinople sat at the centre of a vast network of seaports and was a major hub of Roman culture and communication. With the city's foundation, classical maritime imagery acquired a contemporary cultural and political relevance; even as the Graeco-Roman world slowly evolved into a Christian one.

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zendt, christina. "Marcos Zapata's Last Supper: A Feast of European Religion and Andean Culture." Gastronomica 10, no. 4 (2010): 9–11. http://dx.doi.org/10.1525/gfc.2010.10.4.9.

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In Marcos Zapata's 1753 painting of the Last Supper in Cuzco, Peru, Christian symbolism is filtered through Andean cultural tradition. Zapata was a late member of the Cuzco School of Painting, a group comprised of few European immigrants and handfuls of mestizo and Indian artists. The painters in Cuzco learned mostly from prints of European paintings, and their style tends to blend local culture into the traditional painting of their conquistadors. Imagery was the most successful tool used by the Spaniards in their quest to Christianize the Andean population. By teaching locals to paint Christian subjects, they were able to infuse Christianity into Andean traditions. Zapata's rendering of the Last Supper utilizes this cultural blending while staying true to the Christian symbolism within the subject. Instead of the traditional lamb, Zapata's Last Supper features a platter of cuy, or guinea pig, an Andean delicacy stocked with protein as well as cultural significance. Cuy was traditionally a sacrificial animal at Inca agricultural festivals and in this way it offers poignant parallel to the lamb, as a traditional Christian sacrificial animal.

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Asamoah-Gyadu, J. Kwabena. "Signs, Tokens, and Points of Contact: Religious Symbolism and Sacramentality in Non-Western Christianity." Studia Liturgica 48, no. 1-2 (September 2018): 127–46. http://dx.doi.org/10.1177/00393207180481-210.

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The development of Christianity as a non-Western religion since the middle of the 20th century has generated changes that distinguish it from the expressions of faith inherited from the West. Christian religious innovation and new ways of expressing the faith have become the hallmarks of African Christianity. One way in which these religious changes are discernible is the use of “signs and tokens”, that is, physical substances that in the hands of religious functionaries acquire a sacramental value and that for example serves as support to the sorts of interventionist ministries associated with Pentecostal/charismatic ministries. A classic example of the new sacramental substances is the widespread use of the anointing oil. The anointing oil has become an important “point of contact” in African Christian rituals of healing and supernatural interventions. The use of oil for anointing is not necessarily new in the historic Christian traditions. However, in contemporary African Christianity, it has been reinvented and instituted in healing and deliverance and exorcism rituals that go beyond what was familiar in the older religious traditions. In this essay, we reflect on new sacraments also re-designated as signs and tokens such as the reinvention of the anointing oil as a therapeutic substance in contemporary forms of African Christianity. The new ritual order and the perception of sacraments as therapeutic substances helps us to understand what non-Western Christians, through popular religious innovations, consider important in a faith whose liturgical standards were originally set by Western missionaries.

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Kuznetsova, Olga A. "HELLMOUTH IN THE JAWS OF CERBERUS. IN RUSSIA IN THE SECOND HALF OF THE 17TH AND BEGINNING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 65–75. http://dx.doi.org/10.28995/2686-7249-2021-4-65-75.

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The paper is focused on the adaptation of the image of Cerberus in Russian culture of the Middle Ages and the Early Modern Times. Fragmentary information about some characters of the Greco-Roman mythology penetrated into Russian medieval literature from the Byzantine. Christians often borrowed and reinterpreted those images in the traditions of Christian symbolism. One of these characters, Cerberus, the dog of Hades, became an infernal character: a guard or a demon of the Christian Hell. As a dog it turned into an Evil animal, executioner of sinners. Аs a three-headed creature it resembled dragons and other legendary monsters. Perhaps, the story about Hercules, who tamed Cerberus, became the basis of novel in the Sinai Patericon (story about Saint John Kolobos and graveyard hyena). At the beginning of the 18th century Russia experienced a secondary influence of Ancient symbolism through Western European emblematic collections and similar translated works. A lot of exotic images were rediscovered and aquired new meanings. Under the influence of the Jesuit theatre, the mouth of Cerberus became a variation of a well-known in Russia iconographic image of Hellmouth. In the plays by Dimitri of Rostov, the characters sent to the underworld found themselves in the mouth of a monstrous dog – inside an ingenious stage device. Toward the end of the 18th century Hell as a dog’s head appeared also in Russian popular prints, lubok.

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Pozdnyakov, E. V. "Philosophical and Aesthetic Components of the Art of the Baroque Style." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.

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In this paper considers the impact of the historical process of the formation of the Counter- Reformation in the philosophical views of aesthetic expression, symbolism and personification of the Christian temple art of the Baroque

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Kolbutova, Irina Dmitrievna. "The Cosmic Symbolism of the Church and the Mystical Liturgy of the Logos in Inauguration Anthems of Hagia Sophia and the Mystagogia of Maximus the Confessor." Eikon / Imago 11 (March 1, 2022): 215–32. http://dx.doi.org/10.5209/eiko.77083.

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This article is devoted to the search of the traces of the Jewish conception of the cosmological and mystical celestial tabernacle and the temple in the architectural symbolism of the Christian church represented in the Syriac sugitha and the Greek kontakion dedicated to the churches of Hagia Sophia in Edessa and Constantinople. These texts are characterised by the presence of an idea of the “bridal chamber” and by the re-comprehension of the mystical conceptions of an “animate architecture”, which leads to the the merging the boundaries between the architecture of the church and the soul, interpreted as a “little church,” which will be later developed in detail by Maximus the Confessor in his Mystagogia. Therefore, in the concluding part this work of St. Maximus is taken into consideration, where one can find the continuation of the Jewish-Christian mystical and theological conceptions, which in the writings of this author were interlaced with the Neo-Platonic and Neo-Pythagorean theories. By the numerological symbolism inherent in these theories Maximus the Confessor, probably, incorporated his conception of the soul representing the church into the general cosmological symbolism.

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Zhornikova, Mariya Nikolaevna, and Elena Petrovna Berezkina. "Christian motifs and images in A. G. Rumyantsev lyrical cycle “At The Black Doorstep”." Litera, no. 3 (March 2020): 27–33. http://dx.doi.org/10.25136/2409-8698.2020.3.29730.

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This article is dedicated to examination of Christian imagery in lyrical cycle “At The Black Doorstep” by the Buryat poet A.G. Rumyantsev. The subject of this research is semantic correlation of the key images and motifs of the cycle with the Christian values. The object of this research is literary comprehension of Christian symbolism in a lyrical text. The central theme in the cycle – tragedy of a father who lost his son – is reflected in the motif pairs “darkness – light”, “curse – forgiveness”, as well as theme of apocalypses and reference to the images of natural world. Methodology is based on the axiological principle, according to which the defining in artistic consciousness of the poet is his personal values and priorities. For determination of Cristian code of the images and motifs, the author applied structural-semiotic method. The scientific novelty consists in carrying out a motif and imagery analysis of A. G. Rumyantsev lyrical cycle “At The Black Doorstep” from the perspective of Christian symbolism. A conclusion is formulated that Christian imagery encompasses a recurring for the entire cycle theme of soul revival of a lyrical character, a path he walked from personal apocalypses and inner darkness to light through acceptance and forgiveness.

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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.

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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance.

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Platonova, O. A. "Salsa and Santeria: to the Problem of Desacralization of a Ritual." Observatory of Culture, no. 3 (June 28, 2015): 52–58. http://dx.doi.org/10.25281/2072-3156-2015-0-3-52-58.

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Salsa and Santeria: to the Problem of Desacralization of a Ritual (by Olesia Platonova) is dedicated to the dialogue between a popular genre (salsa) and a religion (Santeria) in the context of desacralization of a ritual. Comparing salsa and other genres, like gospel, spiritual, Christian rock, the author notes a profound connection between a song and a personal spiritual experience of the musician, analyses some examples of the genre: subject symbolism, color symbolism, bilingualism of texts (the Spanish and Yoruba languages), music quotations of Santeria’s hymns.

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Bregman, Jay, Gerhart B. Landne, and Thomas Dunlap. "God, Cosmos, and Humankind: The World of Early Christian Symbolism." American Historical Review 102, no. 4 (October 1997): 1137. http://dx.doi.org/10.2307/2170657.

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André, Catherine M. "Oppositional Christian Symbolism and Salvation in Blake’s America: A Prophecy." Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies 37 (2018): 199. http://dx.doi.org/10.7202/1042231ar.

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Shaw, Donald. "Inverted Christian Imagery and Symbolism in Modern Spanish American Fiction." Romance Studies 5, no. 2 (December 1987): 71–82. http://dx.doi.org/10.1179/026399088786621348.

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Lilley, Keith D. "Cities of God? Medieval urban forms and their Christian symbolism." Transactions of the Institute of British Geographers 29, no. 3 (September 2004): 296–313. http://dx.doi.org/10.1111/j.0020-2754.2004.00229.x.

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Shaw, Donald. "Inverted Christian Imagery and Symbolism in Modern Spanish American Fiction." Romance Studies 6, no. 1 (June 1988): 71–82. http://dx.doi.org/10.1179/ros.1988.6.1.71.

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Titarenko, Svetlana Dmitriyevna. "VYACHESLAV IVANOV AND JAKOB BÖHME (RELIGIOUS SYMBOLISM THEORY AND ACTUALIZATION OF THE GERMAN MYSTIC’S HERITAGE)." Russkaya literatura 2 (2021): 173–83. http://dx.doi.org/10.31860/0131-6095-2021-2-173-183.

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The article outlines the insuffi ciently studied issue «Vyacheslav Ivanov and Jakob Böhme». The goal of the research is to defi ne the sources that infl uenced Vyach. Ivanov’s theory of religious realistic symbolism. The philosophy of Vyach. Ivanov’s art is analyzed, and the contingencies between his theory and the mystic learning of Böhme and his followers concerning symbolic correspondences are highlighted. It is shown that, postulating his principles of religious symbolism, Ivanov relied on Böhme’s principles of symbolic nature of reality, that were connected to the traditions of the Medieval Christian Neoplatonism.

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Grumett, David. "Sunday morning Eucharists: a defence." Theology 125, no. 3 (May 2022): 182–89. http://dx.doi.org/10.1177/0040571x221097546.

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Jesus was resurrected on Sunday morning. Scripture describes both the Last Supper and early Christian gatherings taking place close to the beginning of the day, according to the differing Jewish and Roman understandings of when this was. The resurrection is associated with light and life, and morning celebration with worshippers facing east amplifies this. Against this norm, evening celebration may be theologically or pastorally justified on particular occasions. The Eucharist makes the Church, bringing Christians together as Christ’s body into an organic spiritual unity. It engages the senses, including by means of movement and symbolism, and promotes active participation in worship and potentially in wider church and social life.

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Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (September 28, 2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.

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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping scientists in the nineteenth century understand and record the full phenomena of an eclipse, even as the advent of photography also came to solve a number of scientific puzzles. In the most recent century, artists have responded to eclipses with symbolism, abstraction and playfulness. This article is part of the themed issue ‘Atmospheric effects of solar eclipses stimulated by the 2015 UK eclipse’.

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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 is that it is not just a religious phenomenon. Because today's semantic space of the sacred is not only the idea of God, it is also about justice, identity, self-sacrifice and the search for answers. This is one of the main categories of value orientations, which relates to anthropological reality in all its diversity. In this article, the author analyzes the manifestations of the Christian worldview and sacred meanings in modern literature work: the means of their expression and symbolism. After all, the Bible in modern literature is used in a unique way. Definitely, there are still a number of important Christian literature works, but more and more often artists use biblical symbolism to embody their creative ideas without mentioning Christian saints or biblical quotations. The researcher examines a number of particularly popular fantasy novels of the early third millennium, in which the plotline is interwoven with elements of Christian sacredness and value categories, the meanings of their ideological guidelines. Cult literature works are also analyzed, where sacredness is hidden under other layers of meaning. In these works, the sacred is not immediately demonstrated, it may be seen in the value potential of the profane. The reverse side of Christian sacredness is also comprehended – on the basis of works of art about demons and Satan, the artistic and ideological purpose of these works is considered. All this is subordinated to the goal of understanding the influence of ideas about the sacred (and in general – the transcendent) in its modern cultural expression on the transformation of the aesthetic axiosphere. The research is at the interdisciplinary intersection of religious studies, philosophy of religion, culturology and aesthetics.

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Pozdnyakova, D. Y. "Coptic Christian Symbolism in Art as a Problem of Cultural Studies." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.

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In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus

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Lee, Jong–Tae. "Bernard’s Kiss Symbolism : The Mystery of the Incarnation and Christian Spirituality." Korean Journal of Christian Studies 109 (July 31, 2018): 245–63. http://dx.doi.org/10.18708/kjcs.2018.07.109.1.245.

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Becker, Penny Edgell, and David Fideler. "Jesus Christ, Sun of God: Ancient Cosmology and Early Christian Symbolism." Review of Religious Research 36, no. 3 (March 1995): 328. http://dx.doi.org/10.2307/3511547.

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Norman, Ralph. "Methodius and Methodologies: Ways of Reading Third-century Christian Sexual Symbolism." Theology & Sexuality 13, no. 1 (January 2006): 79–100. http://dx.doi.org/10.1177/1355835806069786.

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V., Neganov. "IMPORTANT ASPECTS OF CHRISTIAN SYMBOLISM IN ANTHROPOLOGICAL, HISTORICAL AND PHILOSOPHICAL PERSPECTIVE." Bulletin of the Moscow State Regional University (Philosophy), no. 1 (2019): 118–26. http://dx.doi.org/10.18384/2310-7227-2019-1-118-126.

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OVADIAH, Asher. "Symbolism in Jewish and Christian Works of Art in Late Antiquity." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 38 (January 11, 1999): 55. http://dx.doi.org/10.12681/dchae.1192.

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Pearman, Sara Jane. "MADONNA AND CHILD: THE DEVELOPMENT OF CHRISTIAN SYMBOLISM. Lois Swan Jones." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 1 (April 1993): 37. http://dx.doi.org/10.1086/adx.12.1.27948530.

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Tracey, Liam. "Book Review: Christian Solar Symbolism and Jesus the Sun of Justice." Irish Theological Quarterly 87, no. 4 (October 31, 2022): 364–66. http://dx.doi.org/10.1177/00211400221129404b.

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Binfield, Clyde. "Jerusalem's Empire State? The Context and Symbolism of a Twentieth-Century Building." Studies in Church History 51 (2015): 334–49. http://dx.doi.org/10.1017/s0424208400050270.

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My theme is religious encounter in the crucible of three faiths. Its focus is a building and its impact. The encounter as yet has no conclusion. The faiths are Christianity, Islam and Judaism. The building is one of two belonging to the Young Men's Christian Association (YMCA) now in Jerusalem. It expresses the personalities who shaped it and the events which surrounded it. It is an essay in imperial Christian mission, inter-faith dialogue and the chemistry of human personality. Religious pluralism is the name of its game, community its watchword, as caught in a streamlined and golden expression of Bible-Land Deco. It is rich in the symbolism of faith, integrated in stone; but what does such pluralism signify?

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McTavish, John. "Myth, Gospel, and John Updike's centaur." Theology Today 59, no. 4 (January 2003): 596–606. http://dx.doi.org/10.1177/004057360305900406.

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The Centaur is one of John Updike's most gospel-imbued novels. However, the explicit symbolism, drawn mainly from Greek mythology, often poses a barrier. This article shows how the symbolism works in The Centaur, how Updike constantly charges his realistic stories with mythical overtones, and how no myth looms larger for the author than the Christian story of the God who literally became human in order to suffer with us and for us. George Caldwell, the hero of The Centaur, turns out to be not only an embodiment of the Greek god Chiron, but a modern-day image of the Christ who shelters the world with God's own self-sacrificing love.

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Барбалат, О. В. "ЗНАКОВА СИМВОЛІКА ФІТОМОРФНИХ ОРНАМЕНТІВ ВІЗАНТІЙСЬКОГО ЗОЛОТАРСТВА IV–IX СТОЛІТЬ." Art and Design, no. 2 (August 11, 2021): 63–74. http://dx.doi.org/10.30857/2617-0272.2021.2.6.

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Purpose of the research is to analyse of the peculiarities of the symbolic meaning and specific use of phytomorphic ornamentation in Byzantine goldsmithery of the IV–IX centuries. Methodology.The research is applied historical-cultural and art critic approaches combined with comparative and presentational methods. Results.The results of the research prove the relationship between Eastern and Greco-Roman traditions of using floral ornamentation in Byzantine jewellery in the IV–IX centuries is highlighted. The traditions and application of floral ornamentation in Byzantine jewellery of the indicated period are identified. The system of transformation of plant motifs into meaningful symbols of spiritual truth embedded in Christianity is analysed. The stylistics, symbolic meaning and artistic peculiarities of plant ornaments applied in jewellery of the above period are investigated on the example of outstanding jewellery items. Jewellery items decorated with floral ornaments from the early Byzantine and iconoclastic periods from renowned museum collections worldwide are examined. The peculiarities of the sign symbolism of phytomorphic ornaments in the Byzantine jewellery of the IV–IX centuries are identified. Artistic technologies and terminology of the Byzantine goldsmith's period are characterized and specified. Scientific novelty. The sign symbolism of phytomorphic ornaments in the Byzantine goldsmith's art of the IV–IX centuries was investigated in a comprehensive way. The causes for the use of phytomorphic ornaments in jewellery items of that time as elements specifying Christian images at certain stages of their canonical formation have been revealed. The article proves the importance of the use of the sign symbolism of phytomorphic ornaments in Byzantine jewellery for further qualitative formation and perfection of Christian traditions. Practical significance. The material of this research can be reflected in the writing of academic disciplines related to artistic technologies in jewellery. As a source of inspiration they can be applied in the process of creating new jewellery collections of Christian themes.

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Beskov, Andrey. "Russian rock music: “Orthodox art”, new religion or “lovely paganism”?" Культура и искусство, no. 6 (June 2020): 10–28. http://dx.doi.org/10.7256/2454-0625.2020.6.31675.

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This article is dedicated to examination of the art of several famous Russian rock bands, which leaders have repeatedly declared their religiosity and to some extent are engaged in missionary activity of the Russian Orthodox Church. The author covers the questions whether it is appropriate to attribute the art of such rock bands to the genre of “Christian rock”, and do the rock musicians contribute to popularization of Orthodox doctrine and churching of their fans, or rather to desecration of religious values and ideals. For solution of the set tasks, the author analyzed song lyrics of the prominent Russian rock bands, as well as interviews of their leaders and other publications in mass media and scientific periodicals that touch upon a religious aspect in rock music. The art of various Russian rock bands often attracted the attention of researchers, who noticed religious (primarily Christian) symbolism in the song lyrics. However, there has not been previously raised a question of whether it is possible to define the art of such rock bands as “Christian rock” or “Orthodox art” based on existence of references to Christian symbolism. It is demonstrated that leaning on the comprehensive analysis of the art of several Russian rock bands that use religious symbols and allusions in their lyrics, there are no grounds to attribute them to the genre of “Christian rock”. Despite the fact that the majority of leaders of these bands and the authors of texts are Orthodox, the lyrics, visual arrangements and videos often have the elements of Neo-Paganism.

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Nowak, Weronika. "Sfera sacrum w Cronaca del Luogo Luciana Beria." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 41–54. http://dx.doi.org/10.14746/rfn.2019.20.4.

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One can point to numerous manifestations of the sphere of sacrum in Luciano Berio’s stage works. It is created in the works of the Italian artist through the use of Christian symbolism, or that associated with the Judeo-Christian tradition, as in the case of Cronaca del Luogo (1999). The sphere of sacrum in Berio’s last stage work is created through such means as intertextual references to the Holy Writ, rabbinic and apocryphal literature and, linked to the creation of specific locations of the action – the space of sacred place, the palace and a Jewish cemetery. Even the title of the work points to the link between the work and the sphere of sacrum, and between the sphere of sacrum and the symbolism of space. This article will present an interpretation of these „imagined worlds” linked to the sphere of sacrum, created by the relationship between words, sounds and images, on the boundary between the space of the „wall” of Salzburg’s Felsen-reitschule, where the work had its premiere, and the imagination of its creators and audiences.

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Kur-Kononowicz, Jolanta. "Z rozważań nad symboliką nieba w idiostylu Siergieja Jesienina (aspekt lingwistyczny)." Linguodidactica 24 (2020): 111–28. http://dx.doi.org/10.15290/lingdid.2020.24.09.

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The goal of the article is an analysis of the symbolism of heaven in the idiostyle of Sergei Yesenin. The semantic-cultural method of description of the research material which constitutes the chosen fragments of Yesenin’s poems was used. Heaven is understood as a sub-field in the semantic meaning field nature. Attention was paid to the issue of symbolic archetypes, and their metaphorics conditioning a multiplicity of interpretations. Stylistic language means serving the imaging with the use of individual symbols of heaven in the idiostyle of Yesenin are described. Symbols expressed metaphorically, metonymically, with the usage of comparisons, etc. are distinguished. Heaven in the idiostyle of Yesenin symbolises: perception of the world (e.g. God’s care and love for human beings, immortality, happy life, salvation, joy of existence, prayers fervent and heard), things (e.g. a roof over the head, net, shawl, blue sand, milk of birches), phenomena and elements of nature (rain, fire), places (paradise, kingdom of heaven, tower-room), figures (Mother of God), physical phenomena (multiplicity, uncountability), birds (pigeons). Christian, religious archetypes of symbols prevail. The article introduces the proposition of the interpretation of poetic texts with the use of semantic field and sub-field analysis, including their symbolism.

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Journal articles on the topic 'Christian symbolism'

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