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Journal articles on the topic 'Divine image'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Beniamin, Zakhary. "Imago Dei in Early Christian Anaphoras." Studia Liturgica 53, no. 1 (2023): 24–36. https://doi.org/10.1177/00393207221144062.

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Genesis expresses human creation in God's image and likeness. This Divine image—imago Dei—given to humanity, was an important notion in the liturgical prayers of early Christians. This paper shows that early Christian anaphoras of the first five centuries utilize image language to introduce the economy of salvation, emphasizing a need for Christ's salvific incarnation, while highlighting traditional descriptions of the imago Dei. Two descriptions of the imago Dei emerge in early anaphoras. One focuses on the immortality and rationality of the human soul as the depiction of

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2

Williams, Rowan. "Deification and the Divine Image." International Journal of Systematic Theology 25, no. 1 (2023): 3–14. http://dx.doi.org/10.1111/ijst.12616.

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Torseth, Robb. "“Life in the Divine Image and Likeness”." Journal of Reformed Theology 18, no. 1-3 (2024): 173–97. http://dx.doi.org/10.1163/15697312-bja10049.

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Abstract In Michael Allen’s 2017 article, “Toward Theological Anthropology: Tracing the Anthropological Principles of John Webster,” Allen draws attention to the peculiarity of the absence of a formal doctrine of the imago Dei in Webster’s anthropology, noting that 1) the doctrine is exegetically driven and ubiquitous in historical theology, and 2) it would seem to fit well with Webster’s greater theological project. This article will attempt to address both of these points in Webster’s thought, first by considering the question of why the doctrine of the image of God in humanity is largely un

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Loikkanen, Juuso. "Human Beings as Imago Dei and Homo Sapiens: Assessing the Substantive Interpretation of Imago Dei." DIALOGO 8, no. 1 (2021): 258–65. http://dx.doi.org/10.51917/dialogo.2021.8.1.23.

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Traditionally, in Christian theology, human beings have been regarded to be images of God (imago Dei). Often, the divine image has been understood to be located in a supernatural soul separate from the body. In this paper, I examine the credibility of this so-called substantive view of Imago Dei in the light of contemporary science.

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Bekmurzaeva, F. Sh. "Stereotypes-images and symbols-signs of a bee in the projection of the conceptual plane of linguistic consciousness." Vestnik of North-Eastern Federal University History Political Science Law 21, no. 2 (2024): 91–103. http://dx.doi.org/10.25587/2222-5404-2024-21-2-91-103.

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This article has several purposes: 1. analyse and identify stereotypical images of the entomological concept of bee in the Russian national linguistic consciousness; 2. reveal the symbolic content of linguistic consciousness by extracting semantic and symbolic signs attached to the stereotypical images of the entomological concept of bee; 3. establish the dynamic invariance (stability) and temporal relevance of the identified stereotypical images in the Russian linguistic picture of the world; 4. confirm the archetypal nature of bee images as universal “products” of the collective unconsciousn

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Zaidi, Ali. "Water as Divine Mirror in the Poetry of Daud Kamal." Studium, no. 26 (June 1, 2020): 203–20. http://dx.doi.org/10.26754/ojs_studium/stud.2020266219.

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Abstract: In the poetry of Daud Kamal, water figures as an image of mercy, as in the Quran, and as a mirror that reflects divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the fluid self that is subsumed into collective identity to become a poetic distillate of history. Key words: Daud Kamal, water imagery, drought imagery, Pakistani poetry in English

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Irízar, Pablo. "Epistemología y Exégesis en las primeras obras de Agustín (387-391)." Augustinus 63, no. 3 (2018): 417–44. http://dx.doi.org/10.5840/augustinus201863250/25119.

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The biblically-inspired motif of the divine image (imago dei, cf. Gen. 1.26) is a central anthropological concept in early Christian discourse. While this motif has been studied extensively, it has not yet been studied against the backdrop of the closely related epistemological terms imago, imaginatio and phantasia as these develop in Augustine’s early works (387-391). Given that Puffer (2014) characterizes the presence of imago dei in the early works as an ‘exterior’ characteristic of human beings, the question arises, how does the treatment of imago and imaginario/phantasia inform Augustine’

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8

Patterson, David. "The Human Image Divine: Tolstoy's Anthropic Theology." Christianity & Literature 40, no. 1 (1990): 23–36. http://dx.doi.org/10.1177/014833319004000104.

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9

Rahtz, Philip. "The incomparable hallmark of the Divine image." Antiquity 69, no. 262 (1995): 196–200. http://dx.doi.org/10.1017/s0003598x00064474.

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Colas, Gérard. "God′s Body: Epistemic and Ritual Conceptions from Sanskrit Texts of Logic." Paragrana 18, no. 1 (2009): 53–63. http://dx.doi.org/10.1524/para.2009.0004.

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AbstractDiscussions on the nature of the relationship between a god, his body and his material representation are almost non-existent in the Hindu devotional perspective, where such concerns are superfluous. Hindu theological and ritual Sanskrit texts, on the other hand, applied procedures of reasoning with regard to that relationship. This rationalization however accommodated rather than conflicted with the devotional attitude. Their attempt to clarify their stand vis-à-vis god′s body and material image followed from ideological or technical requirements. This was done sometimes systematicall

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Redmond, Eden. "Radiant Traces." Departures in Critical Qualitative Research 3, no. 4 (2014): 418–26. http://dx.doi.org/10.1525/dcqr.2014.3.4.418.

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Photography is a referent medium. While a photograph is a physical object with its own ontology, the image depicted references a moment that has already ended. The mobility of a photograph relies on the divide between presence and absence, the material and the ephemeral. This photographic essay considers the tensions and parallels of such divides in photographing and photographs of sadhus, holy men who wander throughout East Asia. Sadhus relinquish worldly possessions in the name of spiritual pursuits, surviving on whatever the divine provides. The following images illustrate both their radian

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Zaidi, Ali Shehzad. "Water as a Divine Mirror in the Poetry of Daud Kamal." Anglica Wratislaviensia 59 (December 28, 2021): 21–35. http://dx.doi.org/10.19195/0301-7966.59.2.

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In the poetry of Daud Kamal, water ﬁgures as an image of mercy, as in the Quran, and as a mirror that reﬂects a divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the ﬂuid self that is subsumed into collective identity to become a poetic distillate of history.

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Huerta Segovia, Pelayo. "De la visualización al (con)tacto devoto. Aproximación a la interpretación física con las hermas griegas." Imafronte, no. 30 (June 7, 2023): 6–15. http://dx.doi.org/10.6018/imafronte.555611.

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In this paper, I underline the importance to focus not only on the visual but also the physical interaction with the Greek divine image called ‘herm’. On the basis of its bifunctionality, and based on the iconographic and literary evidence, I intend to give a brief interpretation of the meaning of the direct physical contact with this statue, probably linked to a ritual primary functionality and to his ubiquitous presence. Finally, I suggest the adoption of the term "toucher-worshipper" as useful to refer to the ancient comprehension, assimilation, and perception of the semi-iconic visual lang

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Benedetti, Ginevra. "Quando gli attributi travalicano il signum. Riflessioni sull’identità visuale degli dèi a Roma = When attributes go beyond the signum. Remarks on the visual identity of the gods in Rome." ARYS. Antigüedad: Religiones y Sociedades, no. 17 (November 20, 2019): 105. http://dx.doi.org/10.20318/arys.2019.4601.

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Riassunto: In questo lavoro ci si propone di analizzare, attraverso le pagine degli autori latini, la costruzione semiotica sottostante la rappresentazione visuale degli dèi nella cultura romana; ognuno di loro possedeva infatti qualche attributo o combinazione di attributi in grado di identificarli con maggiore o minore certezza, ciò che gli autori antichi definivano insignia, dei “segni speciali” che guidavano l’interpretazione / identificazione di un signum. In particolare, saranno presi in esame alcuni oggetti concreti impiegati dalla cultura romana per costruire immagini divine nella loro

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Matanky, Eugene D. "Picturing the Tetragrammaton: Moses Cordovero’s Pardes Rimonim from Manuscript to Digital Form." IMAGES 15, no. 1 (2022): 27–41. http://dx.doi.org/10.1163/18718000-12340153.

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Abstract This article explores the transformation of the divine word/image—the graphic representation of the Tetragrammaton—that originated in the work of Joseph Hamadan, a thirteenth-century kabbalist, and was incorporated into the work of Moses Cordovero, a sixteenth-century kabbalist. The issue of the divine word/image is an intersection of various theological positions found in kabbalistic thought concerning the corporeality of the divine through the medium of the word. However, alongside the theological positions are technological capabilities. This article demonstrates how various actors

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이재현. "Human Image and Divine Image : Pastoral Theological Reflection on the Internal Image of God." Journal of Pastoral Care and Counseling 21, no. ll (2013): 191–215. http://dx.doi.org/10.23905/kspcc.21..201311.007.

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Moreno Carvallo, Jose Manuel. "Con el Divino Rostro no se juega: Personificación de un santo en la danza de Santiagos de Texcoco y Teotihuacan / With the Divine Face do not play: Personification of a saint in the dance of Santiagos of Texcoco and Teotihuacan." REVISTA TRACE, no. 84 (July 31, 2023): 9–30. https://doi.org/10.22134/trace.84.2024.856.

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Este trabajo trata sobre el Divino Rostro, un objeto ritual utilizado en la danza de Santiagos de las regiones de Texcoco y Teotihuacan, México central, al que los pobladores consideran como un santo o imagen viva. Debido a esta característica, el danzante que porta la imagen, la cual representa una mezcla entre Jesucristo y Santiago apóstol, tiene que cumplir con una serie de requisitos, ya que al momento en que la utiliza «le presta su cuerpo al santo». Esto significa que no es solo el danzante quien baila y participa en la festividad, sino también la imagen. Contrario a esta idea, los espec

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Espinosa Ruiz, Angela. "Вобраз Бога ў паэзіі Янкі Купалы і Антоніа Мачада". Białorutenistyka Białostocka 15 (2023): 83–94. http://dx.doi.org/10.15290/bb.2023.15.04.

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The image of God (or gods) and of the divine is one of the universal problems that poetry in particular and literature in general have considered central throughout history. Despite the predominance and relevance of the aforementioned topics, the question of God’s image in Belarusian poetry remains under‑‑researched; philologists like Jan Čykvin and Iryna Bahdanovič have undertaken the study of this matter, yet it continues to be largely unexplored from a comparative perspective. In this manner, the present article is an attempt to complement the research of its predecessors and to present a n

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Serman, Elena. "Divine marriage and the image of a politician." Zbornik radova Filozofskog fakulteta u Pristini 44, no. 2 (2014): 255–68. http://dx.doi.org/10.5937/zrffp44-6277.

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20

Zwollo, Laela, and Enrique A. Eguiarte B. "San Agustín sobre la experiencia divina del alma." Augustinus 60, no. 236 (2015): 345–51. http://dx.doi.org/10.5840/augustinus201560236/23925.

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St. Augustine expounds his theory of intellectual vision in book XII of The literal meaning of Genesis. This involves the sight of the mind's eye which operates in the upper echelon of the human soul. My paper deals with how intellectual vision relates to Augustine’s doctrine of imago Dei, or his interpretation of the verses Genesis 1:27: God created man in his own image. The imago Dei, located in every human intellect, progressively acquires a resemblance to God by gathering knowledge from divine Light. This doctrine furnishes the potential of a divine, epistemological experience in the form

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Raphael, Melissa. "Idolatry and Fixation: Modern Jewish Thought and the Criticism of Cosmetically and Technologically Perfected Female Faces in Contemporary Popular Culture." International Journal of Public Theology 7, no. 2 (2013): 135–56. http://dx.doi.org/10.1163/15697320-12341278.

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Abstract This article argues that the ‘halakhically’ (legally) governed representational techniques employed by Jewish art are founded upon a counter-idolatrous theology of appearance: both human and divine. In drawing upon a range of Jewish sources from the ancient to the contemporary period that understand idolatry as an estrangement of the world from God, this article presents a Jewish feminist theological critique of alienation in the late modern popular visual regime, while suggesting that it is nonetheless possible for public culture to behold the divine image in images of the human with

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Williams, Rowan. "The Elements of a Christological Anthropology." Perichoresis 19, no. 2 (2021): 3–20. http://dx.doi.org/10.2478/perc-2021-0008.

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Abstract Human beings exist in one of two sorts of solidarity, according to St. Paul—the solidarity of sin or alienation ‘in Adam’ or the solidarity of life-giving mutuality in Christ. There can be no Christian theology of the human that is not a theology of communion—which converges with the conviction that our creation in the divine image is creation in relationality. The image of God is not a portion or aspect of human existence but a fundamental orientation towards relation. This understanding of the divine image in turn points to the way in which—as the Orthodox theologian Vladimir Lossky

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Oualla, Mohamed, Khalid Ounachad, and Abdelalim Sadiq. "Building Face Detection with Face Divine Proportions." International Journal of Online and Biomedical Engineering (iJOE) 17, no. 04 (2021): 63. http://dx.doi.org/10.3991/ijoe.v17i04.19149.

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<p class="0abstract"><span lang="EN-US">In this paper, we proposed an algorithm for detecting multiple human faces in an image based on haar-like features to represent the invariant characteristics of a face. The choice of relevant and more representative features is based on the divine proportions of a face. This technique, widely used in the world of beauty, especially in aesthetic medicine, allows the face to be divided into a set of specific regions according to known mathematical measures. Then we used the Adaboost algorithm for the learning phase. All of our work is based on

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MUREŞAN, Radu-Ioan. "Pedagogia intervalului – modelul pedagogiei divine (a educa în vederea libertății – intervalul ca pedagogie divină)." Studia Universitatis Babeş-Bolyai Theologia Graeco-Catholica Varadiensis 63-64, no. 1-2 (2019): 63–90. https://doi.org/10.24193/theol.cath.var.2018-2019.04.

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The Pedagogy of the Interval – Toward a Model of Divine Pedagogy (edu-cating for freedom – interval as divine pedagogy). This study is an attempt to substantiate human pedagogy on the model of divine pedagogy - the pedagogy of “the interval”, whose symbolic image might be “the empty space” existing between the Cre-ator and Adam in Michelangelo's fresco Creation of Adam. It is the antinomic struc-tural space par excellence, the space of freedom and lack of freedom, of order and dis-order, that make the flowering of the human creativity possible, according to the logic of a harmonious life seen

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Castro-Altamirano, Camilo. "A Divine Remembering." Constellations 16, no. 1 (2025): 11. https://doi.org/10.29173/cons29535.

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This paper examines the Gospel of Thomas (GoT), a non-canonical Christian text from the second century CE, while challenging its previous associations with Gnosticism. This paper argues that the Thomasine soteriology (i.e., understanding of salvation) involves a return to a pre-Adamic human nature in the image of God, a position that requires unique reinterpretations of Christian doctrine. First, the paper shows how this gospel presents Jesus as a guide rather than a traditional savior, urging practitioners to embody his teachings to recognize their inherent divinity. It then describes the cen

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Huang, Wen-Yi, and Wen-yu Chiang. "The kaleidoscope of divine images." Cognitive Linguistic Studies 5, no. 1 (2018): 155–87. http://dx.doi.org/10.1075/cogls.00017.hua.

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Abstract Compared to metaphors about God in the Bible, those in other Christian contexts seem to receive little academic attention. To bridge this gap, this study examines metaphors gathered from gospel songs on Billboard and iTunes to analyze the abstract concept of God from a cognitive linguistic viewpoint through extending the framework of Conceptual Metaphor Theory. Our findings indicate that while diverse kinds of metaphors focus on the multi-dimensionality of God such as his characteristics (e.g., GOD IS A MAGICIAN and GOD IS A LOVER), outline (e.g., GOD IS A CONTAINER and GOD IS LIQUID)

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Karfíková, Lenkaq. "La Trinité en Dieu, les triades dans l’âme: Augustin, De Trinitate IX‑XV." Chôra 21 (2023): 321–49. http://dx.doi.org/10.5840/chora2023/202421/2215.

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Like his predecessor Marius Victorinus, Augustine tried to find the image of the divine Trinity, as understood by Western pro‑Nicene theology, in the human soul, created, according to Gn 1 :26f., in the image of God. Unlike Victorinus, Augustine finds this image not in the soul as such but only in the rational soul capable of intellectual insight, i.e. the mind (mens). The „image” of the divine Trinity is thus constituted by the mind itself and its self‑knowledge and self‑love (De trin. IX) or, alternatively, by memory, intellectual insight, and will (De trin. X). Apart from this Neo‑Platonisi

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Rice, Prudence M. "RETHINKING CLASSIC LOWLAND MAYA POTTERY CENSERS." Ancient Mesoamerica 10, no. 1 (1999): 25–50. http://dx.doi.org/10.1017/s0956536199101020.

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Classic lowland Maya censers can be described in terms of two general categories, image (or effigy) and non-image. The function and meaning of these incensarios is approached through consideration of their embellishment, symbolism, and contexts of use and recovery. It is suggested that in Peten and some adjacent areas, Classic image censers were part of the paraphernalia of divine kingship, associated with termination rituals and a royal funerary cult. Non-image and particularly spiked censers were more associated with birth/renewal, earth, rain, and calendrical rituals involving fire drilling

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Hazlett, Latasha. "Made in the Image of God: Seeing Humanity as God Sees Us." Kenarchy Journal 6 (March 2024): 27–38. http://dx.doi.org/10.62950/vukp62.

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While many within the Christian tradition believe that humanity has been made in the image of God, there are differing views of what happened to that divine image once sin and brokenness entered the world. If we believe that our divine nature has been lost or is something to be attained, it follows that we might easily recognize the image of God in some (such as those we consider “saved”) while having a harder time recognizing God’s image within others, especially those who are different from us. A colleague of mine shared a statement that summarizes the danger of this phenomenon well: “when w

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SEIDENBERG, DAVID. "Being Here Now: This Creation is the Divine Image." Tikkun 32, no. 1 (2017): 62–64. http://dx.doi.org/10.1215/08879982-3769539.

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Vagnoni. "Royal Divine Coronation Iconography. Preliminary Considerations." Arts 8, no. 4 (2019): 139. http://dx.doi.org/10.3390/arts8040139.

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In recent decades, art historians have stressed the benefits of analysing medieval images and their contents within their specific context and, in particular, have underlined the importance of their visual impact on contemporary beholders to determine their functions and specific meanings. In other words, in the analysis of a medieval image, it has become fundamental to verify where it was collocated and whom it was aimed at, and which practical reasons it was made for (its visibility, fruition, and usability). As a result, new perspectives have been opened, creating an active historiographica

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Lloyd, Vincent. "State Violence, Divine Abuse." Pólemos 18, no. 2 (2024): 209–24. http://dx.doi.org/10.1515/pol-2024-2014.

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Abstract It is tempting to attribute state violence to the imposition of a normative order, and it is tempting to construct an opposition between sanctifying that order and messianic interruptions of that order. This framework supposes that God, and the surrounding language of the sacred, follows the logic of rule, imposing a set of expectations on what is to be done enforced by threat of punishment. But what if we centre the story of Job in our account of the divine and with it an image of God as abuser rather than ruler, that is, God as only imposing the phantom of norms, norms that shift or

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Wassar, Sarah. "Perempuan dalam Melaksanakan Mandat Ilahi Menurut Kejadian 1:27-28." REDOMINATE Jurnal Teologi dan Pendidikan Kristiani 4, no. 1 (2022): 35–50. https://doi.org/10.59947/redominate.v4i1.56.

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God gave a divine mandate to humans (women and men) since the beginning of creation is to rule the world (Genesis 1:27). Women and men were created in the image and likeness of God, equal in God's presence, and received the same Divine mandate and carried out the Divine mandate according to God's commands or will. To find out specifically about women in carrying out Divine mandates, this writing is reviewed theologically using qualitative methods, namely literature or literature study. Then it is presented in the form of a theological review description.

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Todorova, Rotislava. "Orthodox Cosmology and Cosmography." Eikon / Imago 3, no. 2 (2014): 77–94. http://dx.doi.org/10.5209/eiko.73399.

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Orthodox iconography is focused on the idea of representing the cosmos, the essence of God’s creatio ex nihilo, thus serving as a visual cosmology and thence - as a cosmography of all being. Icons depict the image of the archetypal world in its integrity, unachievable for the limited human abilities, and are ontologically inseparable from this archetype. Therefore, iconography has been always related with the idea of representing the world trough symbolic images. In this context, it becomes a visual cosmology, and hence - a kind of cosmography of all being. Although not identical to cartograph

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Platt, Verity. "Evasive Epiphanies in Ekphrastic Epigram." Ramus 31, no. 1-2 (2002): 33–50. http://dx.doi.org/10.1017/s0048671x00001351.

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(Greek Anthology 16.160, attributed to ‘Plato’)Paphian Cytherea came through the waves to Knidos,Wishing to see her own image.Having viewed it from all sides in its open shrine,She cried, ‘Where did Praxiteles see me naked?’‘Through a glass, darkly:’ not just a hackneyed, Biblical phrase summing up our inability to apprehend God, but a pithy visualisation of the gap between divine truth and our perception of it. Yet Paul's words might also stand as an image for the trope of ekphrasis, the bewildering textual prism through which the frustrated reader attempts to view an enclosed and distant ima

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FAZIO, Giovanni. "A THEOLOGICAL SUPPORT, FROM CHALCEDON, TO THE SHROUD IMAGE NATURAL FORMATION." International Journal of Theology, Philosophy and Science 5, no. 8 (2021): 42–48. http://dx.doi.org/10.26520/ijtps.201.5.8.42-48.

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The fourth Ecumenical Council of Chalcedon (451 AD) sanctions, for the Holy Church very important conclusions regarding the nature of Christ. The above results do not contrast, but rather open to a natural formation of the Shroud body image. This occurs because it was affirmed in Chalcedon that Jesus Christ, the Nazarene, has two natures, one human and one divine, “inconfusedly, unchangeably, indivisibly, inseparably”, which coexist in one person (hypostasis). Consequently, the monophysitism of Eutiche and of the Egyptian, Syrian and Armenian Churches, was rejected. Now, the Resurrection of th

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KOFFI, Kouakou Marius. "Déchoir spirituel du monde et désir divin : l’hénologie plotinienne comme sortie des crises existentielles." Revue Spécialisée en Études Heideggériennes 1, no. 8 (2020): 108–27. https://doi.org/10.71003/rmil6111.

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Le déchoir spirituel du monde est la résultante des crises qui affectent son bon fonctionnement par la démesure de l’avoir ; ce qui complexifie le rapport Homme-Dieu, par un oubli de celui-ci. Le sens de la crise moderne actuelle met en lumière la rupture d’avec le divin, et sa substitution par l’humain, dans un absolutisme de la rationalité, d’où le déchoir spirituel. Conscients de cette crise spirituelle et scientifique, l’hénologie plotinienne suscite la restauration du divin en soi, pour une existence authentique et un développement, image de la présence divine, pour un équilibre social, m

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Warren, E. Janet. "The Imago Dei and the Indwelling Spirit." Pneuma 46, no. 1 (2024): 5–24. https://doi.org/10.1163/15700747-bja10106.

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Abstract Charismatic theology has engaged little with the concept of the imago Dei and has sometimes emphasized eschatology over creation. This article reconsiders views on the imago Dei in light of the concept of divine presence, building on notions of intensification and suggesting the concept of activation. I propose that as God breathes his Spirit into the first humans and pours out his Spirit on all flesh, a primary way in which we image God is by manifesting his divine presence in the world. Through the indwelling Spirit (a structural aspect of the imago Dei that is activated through bel

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Yosef, Hery Budi. "Man as the Perfect Image of God in Biblical Perspective." Indonesian Journal of Christian Education and Theology 3, no. 2 (2024): 83–92. http://dx.doi.org/10.55927/ijcet.v3i2.9374.

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This research discussion assumes that humans in their complete existence actually reflect the attributes or traits of God in a perfect way, or at least close to perfect. This concept is often associated with Christian theology about "humans" (Christian anthropology), namely where Jesus Christ is often seen as the best manifestation or image of God in human form. In this view, humans are believed to have the potential to reflect these divine attributes such as; love, justice, wisdom, and goodness. However, it is realized that humans also have limitations and weaknesses, so this understanding of

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Herring, Stephen. "A “Transubstantiated” Humanity: The Relationship between the Divine Image and the Presence of God in Genesis i 26f." Vetus Testamentum 58, no. 4 (2008): 480–94. http://dx.doi.org/10.1163/156853308x348213.

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AbstractSince the 1960's the consensus in Old Testament research regarding humanity's role as image of God has been along the lines of a functional or propagandistic interpretation. Thus, humanity represents the deity by functioning like him: they rule over the earth by his command and in his stead. This interpretation, however, often overlooks the ontological worldview of the ancient Near East where the distinction between object and referent was not as clear as it is today. The image functioned to make present the referent, be it god or king. In this way, the priestly conception of humanity

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Totu, Savu. "Divine wisdom and human wisdom in The Divine Names by St. Dionysius the Areopagite." MEΘEXIS Journal of Research in Values and Spirituality V, no. I (2025): 117–27. https://doi.org/10.71210/mjrvs.8.a.6.

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In the writings of St. Dionysius the Areopagite, where the right faith in God is reflected by Christian philosophy with the greatest clarity, we will fully understand the abyssal difference between divine wisdom and human wisdom. As it was revealed to St. Paul the Apostle, for every Christian believer, this difference is normative for the configuration of the relationship between Greek philosophy and true faith in God. Therefore, having the "demonstration of the Spirit and power" (I Cor. 2:4) - the only source of the preaching of the Truth "in weakness and fear and in much trembling" (I Cor. 2

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Lukashev, Andrey A. "«Средневековый BLM»: образ чернолицего в персидской суфийской поэзии". Oriental studies 16, № 1 (2023): 222–31. http://dx.doi.org/10.22162/2619-0990-2023-65-1-222-231.

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Introduction. The black-faced are mentioned in different Muslim texts — from the Quran to Sufi poems. One can trace not just diverse but rather opposite interpretations, and researchers have to face certain problems when it comes to analyze some related images. Goals. The study attempts an insight into functioning and semantic features inherent to images of the black-faced in Sufi poetry. Materials and methods. The work analyzes a number of classical Persian and Arabic writings, such as The Walled Garden of Truth by Sanai, and others. The employed research methods include those of textual reco

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Basser, Herbert W. "B. Yoma 35b: Some Observations Concerning Divine Mediators and Rabbis." Review of Rabbinic Judaism 22, no. 2 (2019): 133–51. http://dx.doi.org/10.1163/15700704-12341355.

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Abstract The familiar “Hillel-meets-his-teachers” tradition (B. Yoma 35b) reveals a deeper story that features mystical, apocalyptic images representing none other than the beloved masters of early rabbinic culture. Here we find the image of a heavenly being enthroned on high that was identified in non-rabbinic circles with God’s demiurge (Enoch, Yehoel, Metatron). This provides evidence that rabbis defused the mystical stories that were leading to two-power challenges to rabbinic authority and to the increasingly antinomian positions of Jews inside and outside of Christian churches. We can th

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Ni, Yun. "Divine Iconoclasm and the Making of Sacred Space in John Capgrave’s Life of Saint Katherine of Alexandria." Religions 16, no. 6 (2025): 684. https://doi.org/10.3390/rel16060684.

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The polemics of idol worship in John Capgrave’s Life of Saint Katherine of Alexandria have been interpreted by previous scholars as either the author’s engagement with the Lollard image controversy or a political critique of Henry VI. This essay, however, shifts the focus from Katherine and her iconoclasm to the concept of divine iconoclasm, defined here not only as the divinely sanctioned or divinely motivated destruction of religious images but also as God’s direct intervention to dismantle false representations and correct human perceptions of the divine. It further argues that Capgrave’s L

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Krausmüller, Dirk. "Banishing Reason from the Divine Image: Gregory Palamas' 150 Chapters." Journal for Late Antique Religion and Culture 13 (December 27, 2019): 60. http://dx.doi.org/10.18573/jlarc.115.

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Joo, Yun-Soo. "Becoming a Human in the Divine Image and Christian Education." Theology and Praxis 75 (July 30, 2021): 341–64. http://dx.doi.org/10.14387/jkspth.2021.75.341.

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Mangani, Marco. "‘Divine Seed of Heroes, Shining Pearl’: Margaret’s Image in Music." Journal of the Alamire Foundation 16, no. 1 (2024): 13–19. http://dx.doi.org/10.1484/j.jaf.5.137251.

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Sarah Wassar. "Perempuan dalam Melaksanakan Mandat Ilahi Menurut Kejadian 1:27-28." REDOMINATE Jurnal Teologi dan Pendidikan Kristiani 4, no. 2 (2025): 99–114. https://doi.org/10.59947/redominate.v4i2.120.

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AbstractGod gave a divine mandate to humans (women and men) since the beginning of creation is to rulethe world (Genesis 1:27). Women and men were created in the image and likeness of God, equal inGod's presence, and received the same Divine mandate and carried out the Divine mandateaccording to God's commands or will. To find out specifically about women in carrying out Divinemandates, this writing is reviewed theologically using qualitative methods, namely literature orliterature study. Then it is presented in the form of a theological review description.

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Gamlath, Isha. "Transforming the Legendary Image of the Legislator as Promoter of Non-violation of Animal Life: a Shared Premise in Plutarch’s Moralia and Porphyry’s De Abstinentia." Symbolae Philologorum Posnaniensium Graecae et Latinae 34, no. 1 (2024): 33–43. http://dx.doi.org/10.14746/sppgl.2024.xxxiv.1.3.

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Legislation was a component that characterized the link between civic and religious authority throughout the Archaic period to the early Roman Empire. Legislation is much celebrated in the respective philosophical cultures of Plutarch and Porphyry: in the former, the image of the ideal ruler reflects the notion of a philosopherking, while in the latter, it was attached with significance to life lived under the divine law of the Intellect of Kronos. This article will demonstrate how Plutarch and Porphyry jointly acknowledge the legislator’s legendary image as more than mediating between hostile

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de Wet, Chris L. "“Illius sponsi thalamus fuit uterus virginis”." Religion and Theology 27, no. 3-4 (2020): 299–328. http://dx.doi.org/10.1163/15743012-02703007.

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Abstract This article examines the image of Mary’s womb as the bridal chamber in which the Word and the flesh, the divine and the human natures of Christ, are united. The image presents the reader with a paradox – the Word and the flesh engage in a divine unification and comingling in the womb of the virgin. The study traces the development of the image in the earlier works of Augustine, and contextualises it within Augustine’s later thought, in which the body and sexuality are considered in a more positive light. The study aims to demonstrate that Augustine’s structuring of incarnational theo

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