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Journal articles on the topic 'Holy Shroud in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Smith, Samantha L. "Truth and the Transunto: a copy of the Holy Shroud in Sixteenth-Century Bologna." Acta ad archaeologiam et artium historiam pertinentia 32, no. 18 N.S. (September 13, 2021): 59–80. http://dx.doi.org/10.5617/acta.9019.

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'Truth and the transunto' investigates the use of a hand-painted copy of the Holy Shroud which found its way to Bologna in the late sixteenth century. Used by the archbishop of Bologna, Alfonso Paleotti (1531-1610), this copy was the source of observations of the body of Christ, in the manner of an autopsy and is presented in Paleotti's book Esplicatione del Lenzuolo [...]. Early modern copies of the Holy Shroud are not however accurate copies, but present seemingly simplified replicas of the original. This article explores how such information, and indeed, level of trust, can come from these copies, which, to the modern eye, seem fallible. Previous studies have excused the strange appearance of these Shroud copies by considering them solely devotional instruments yet as the article shows, Paleotti's use of such an object shows that the copies might be better understood in the context of early modern natural historical studies and illustrations. The article draws on scholarship which discusses the emerging interest for visual evidence in early scientific practice and shows how certain types of images and image-making practices were able to evoke the idea of presence and clarify the indecipherable. Demonstrating that Paleotti's copy of the Holy Shroud was not just a religious tool, but also an epistemic image, this article shows how Paleotti's use of the term 'transunto' could be used as a valuable tool in gaining a more nuanced understanding of the concept 'copy' in Early Modern Europe. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

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2

Napoli, Paolo. "A Structural Description of the Chapel of the Holy Shroud in Torino." Nexus Network Journal 11, no. 3 (November 5, 2009): 351–68. http://dx.doi.org/10.1007/s00004-009-0003-y.

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3

Duvernoy, Sylvie. "Guarino Guarini’s Chapel of the Holy Shroud in Turin: Open Questions, Possible Solutions." Nexus Network Journal 9, no. 1 (March 2007): 151–54. http://dx.doi.org/10.1007/s00004-006-0035-5.

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4

Scott, John Beldon. "Guarino Guarini's Invention of the Passion Capitals in the Chapel of the Holy Shroud, Turin." Journal of the Society of Architectural Historians 54, no. 4 (December 1, 1995): 418–45. http://dx.doi.org/10.2307/991083.

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The Corinthian capital variant Guarini especially designed for the major order of the Chapel of the Holy Shroud in Turin serves as an example of the architect's concern with projecting meaning through architectural form. Employing construction documents from the Archivio di Stato in Turin, this study reconstructs the production history of the famous gilt-bronze "Passion capitals" of the chapel rotunda. The analysis contextualizes this unusual design, showing how Guarini responded inventively to the religious and political needs of the commission to provide an appropriately ornamented ambience for promoting the veneration of one of the central Passion relics of Christendom. Private devotional practices, Savoyard dynastic aspirations, and a moralized floral exotic all played significant roles in the creation of the new capital type as part of the larger program of the chapel. The view of Guarini that emerges from this investigation proves more tied to the prevalent expectations of seicento religiosity, patronage, and architectural culture than has often been allowed.

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5

Saxton, Libby. "Make Believe: Marie-José Mondzain and Cinema's Christian Economy." Paragraph 42, no. 3 (November 2019): 301–15. http://dx.doi.org/10.3366/para.2019.0308.

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This article seeks to highlight the relevance of Marie-José Mondzain's trailblazing writings on Byzantine image theory and its modern legacy, with particular reference to Image, icône, économie (Image, Icon, Economy, 1996) and Homo spectator (2007), to the revived debate about belief in cinema. Like André Bazin's and Christian Metz's classical accounts of this subject, Xavier Giannoli's film L'Apparition (The Apparition; 2018) grants a privileged role to a holy shroud and other visual fetishes; it also deals, like Mondzain, with their relations to invisible authority. I argue that Mondzain's writings and Giannoli's film enrich our appreciation of cinema's affinity with belief by staging complementary critiques of the empowerment of institutions by images.

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6

Robertson, Anne Walters. "The Man with the Pale Face, the Shroud, and Du Fay's Missa Se la face ay pale." Journal of Musicology 27, no. 4 (2010): 377–434. http://dx.doi.org/10.1525/jm.2010.27.4.377.

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Guillaume Du Fay composed his Missa Se la face ay pale, based on his ballade of the same name, during his final sojourn at the Court of Savoy in Chambééry from 1452 to 1458. It has been suggested that the piece celebrated the consummation of the wedding of Amadeus of Savoy and Yolande de France in 1452, but the basis for assigning it to this occasion ——that a song about a man whose "face is pale" for "reason of love" might refer to a bridegroom——is weak. A fresh look at this seminal composition points to a different rationale, one stemming from examination of the affective theology of the fifteenth century that influenced art in all its forms. Late medieval Passion treatises, dialogues, sermons, lives of Christ, along with related paintings often depict Christ as the man with the pale face. In his final hours on the Cross, Christ's physical aspect is described as "pale" or "pallid." The "reason" for his disfigurement is his "great love" for mankind. In sacred dialogues between Christ and the female soul ("anima"), the Man of Sorrows conveys his love and encourages her to "see" or "behold" his wounds and study his "bitter" passion. The language of Du Fay's ballade is strikingly similar: "If the face is pale / The cause is love, / That is the main cause; / And so bitter to me / Is love, that in the sea / Would I like to see myself." What prompted Du Fay to use this song in his Missa Se la face ay pale? This article proposes that an important Christological relic, the Holy Shroud, acquired by Du Fay's patron Duke Louis of Savoy in 1453 (and not moved from Chambééry to its present location in Turin until 1578), lies at the heart of the work, and that the composer incorporated theological symbols in the Mass to associate it with this sacred remnant. Recognition of early Christ-Masses such as the Missa Se la face ay pale helps to redefine the word "devotional" and illuminates the beginnings of Mass composition with secular tunes and of emotional expression in sacred music.

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Schrag, Bettina, Sophie Pitteloud, Beat Horisberger, Tony Fracasso, and Patrice Mangin. "The modern holy shroud." Forensic Science International 219, no. 1-3 (June 2012): e10-e12. http://dx.doi.org/10.1016/j.forsciint.2011.11.025.

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8

Casey, Michael T. "The Holy Shroud of Turin." Irish Theological Quarterly 56, no. 1 (March 1990): 60–62. http://dx.doi.org/10.1177/002114009005600105.

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9

Koltsova, Tatiana Mikhailovna. "Handicraft workshop of the Shenkur Holy Trinity maiden monastery of the 18th century." Secreta Artis 5, no. 2 (December 6, 2022): 30–57. http://dx.doi.org/10.51236/2618-7140-2022-5-2-30-57.

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The article is devoted to previously unknown works of pictorial embroidery of the synodal period. The artworks represent the local cultural center of the Russian North and are published for the first time. In the first half and the middle of the 18th century, a unique gold-embroidery workshop, which reached a high artistic level, was formed in the Shenkur Holy Trinity Convent on the Vaga river. The creation of liturgical fabrics in the monastery was carried out not only by nuns, but also by so-called “belitsy”, women who lived in monastic cells without being tonsured, as well as residents of the city of Shenkursk. Mother Superior Euphemia (1727- 1749) and her sister Xenia were famous craftswomen, they embroidered on multi-colored fabrics with gold, silver and silk threads. Shrouds of Christ, intercessions of the Holy Virgin and epigonations made in the Shenkur Monastery are featured in several museum collections, mainly in the North. The handicraft workshop existed in the monastery for only a short period of time: from the beginning of the 18th century until the closing of the monastery in 1764. The Vaga craftswomen created their works on the basis of the ancient Russian gold embroidery tradition. The identification and attribution of liturgical fabrics enabled one to uncover distinctive features of Shenkur products: idiosyncratic technologies, rare iconography and peculiar style dating back to the art of the Baroque era. Liturgical clothing and epigonations made by the Vaga craftswomen were ordered and purchased for the bishops' councils of Arkhangelsk and Kholmogory, they are present in the collections of Nikolo-Korelsky, Antoniev-Siya and Solovetsky monasteries. Correspondingly, Shenkur church textiles and fabrics were used in the churches of the Vologda diocese. The article offers an unprecedented systematization of a completely new unexplored layer of museum objects. A number of conclusions are drawn on account of unknown written and visual sources found in museums and archives of the country. The second half of the nineteenth century saw the revival of women's handicraft in the Shenkursky Monastery. The article is illustrated by works found in the museum collections of the Arkhangelsk region, primarily the Arkhangelsk Museum of Local Lore. The scope of the study includes a completely new significant range of cultural monuments belonging to North Russian tradition. The results can be widely used in identifying and attributing works of pictorial embroidery.

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10

Schiltz, Katelijne. "Adrian Willaert’s Hymn for the Holy Shroud." Journal of the Alamire Foundation 4, no. 1 (January 2012): 57–72. http://dx.doi.org/10.1484/j.jaf.1.102607.

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11

Modarelli, Giuseppe. "Accounting and the budget negotiation process: The case of the Holy Shroud Exposition (1931) during a period of austerity." CONTABILITÀ E CULTURA AZIENDALE, no. 2 (July 2022): 7–53. http://dx.doi.org/10.3280/cca2021-002002.

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Introduction: The paper considers the case of the Holy Shroud Exposition (1931) during a period of austerity, investigating accounting practices and the budget negotiation process. Aim of the work: The study seeks to illustrate the power structure underpinning budgetary negotiation processes related to the Holy Shroud Exposition. Methodological approach: The paper is based upon primary sources, considering internal accounting correspondence of the Savoy Ministry and other archival sources that have been interpreted in the light of the literature on the principal-agent theory used as framing paradigm. Main findings: The research identifies the role of accounting in managing/influencing social organisational-interactions, under specific historical conditions. In particular, the work shows the hierarchical structure of the Savoy Royal House (hereafter HSE), and verify the presence of opportunistic behaviours in the negotiation process realated to the authorisation of extraordinary expenses for the Holy Shroud Exposition. Originality: The paper permits to show the power of accounting to shape human interactions in the specific context represented by the climate of austerity, typical of interwar periods, that becomes a crucial antecedent of opportunistic behaviours.

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12

FAZIO, Giovanni. "A THEOLOGICAL SUPPORT, FROM CHALCEDON, TO THE SHROUD IMAGE NATURAL FORMATION." International Journal of Theology, Philosophy and Science 5, no. 8 (May 27, 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 the Nazarene is a Transcendental event that, according to those like us who support the natural formation of the Shroud body image, acted only on the corpse leaving the burial linen in the Immanent, under the dominion of the natural sciences. So, the Miracle of the Resurrection shows the divine nature of Christ, while the Shroud body image formation, the human one.

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13

Trenn, Thaddeus J. "The Shroud of Turin." Journal of Interdisciplinary Studies 9, no. 1 (1997): 121–40. http://dx.doi.org/10.5840/jis199791/28.

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The Shroud of Turin, a linen cloth with but a faint image, continues to capture the interest of many people of diverse beliefs. Although the measured age of the cloth is relatively recent, other scientific findings indicate an earlier provenance. Any firm conclusions regarding the cloth's history remain premature. No satisfactory explanation has been found as yet for how the image on the cloth was produced structurally or stylistically. Iconographic evidence suggests that the image was the source of facial peculiarities found in early works of religious art. The body image bears a striking yet preternatural correlation with Scriptural accounts of wounds. Curiously, the image on the cloth functions as a photographic negative, exhibiting a high degree of resolution, as if the original were produced in pixels. Despite serious efforts to discover some artistic origin md medium, scientific evidence points in the direction that it was not produced by hands. If it is tme that the medium is the message, as Marshall McLuhan wrote, then the Turin Shroud may be a parable for the modern age.

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14

Bortolin, Michelangelo, Marco Ulla, Alessia Bono, Enrico Ferreri, Mariano Tomatis, and Sergio Sgambetterra. "Holy Shroud Exhibition 2010: Health Services During a 40-Day Mass-Gathering Event." Prehospital and Disaster Medicine 28, no. 3 (March 21, 2013): 239–44. http://dx.doi.org/10.1017/s1049023x13000216.

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AbstractIntroductionMass-gathering events require varying types and amounts of medical resources to deal with patient presentations as well as careful planning for environmental health management. The Holy Shroud Exhibition was hosted in Torino, Italy, between April and May 2010. The venue was a unique mass-gathering event which lasted several weeks. It was held in a limited area in the center of the city and it was attended by a large and heterogeneous population. A dedicated Health Care Service was created for the event.MethodsThis study is a retrospective analysis of clinical presentations of patients who were managed by the Medical Services during the event. The main study outcomes included Patient Presentation Rate (PPR), type of injuries and illnesses, and the Transport to Hospital Rate (TTHR).ResultsThe PPR and TTHR were both low (0.27 and 0.039 respectively). The majority of patients presented with low severity codes and no sudden cardiac death (SCD) or cardiac arrest occurred. Cardiac and trauma emergencies were most frequent categories of presentation. A number of pediatric patients (19.37%) were treated by the event Medical Service. Approximately two million persons participated in the 40-day event.ConclusionThe experience for this 40-day event supported having an on-site, organized, dedicated Medical Service that decreased overcrowding of the local Emergency Medical System and hospitals. It is recommended that, for such events, there be recruitment of emergency physicians with experience in mass-gathering events, recruitment of pediatricians, and training for professionals during the planning process.BortolinM, UllaM, BonoA, FerreriE, TomatisM, SgambetterraS. Holy Shroud Exhibition 2010: health services during a 40-day mass-gathering event. Prehosp Disaster Med. 2013;28(3):1-6.

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15

FRIEDLANDER, ALAN. "On the Provenance of the Holy Shroud of Lirey/Turin: A Minor Suggestion." Journal of Ecclesiastical History 57, no. 3 (June 21, 2006): 457–77. http://dx.doi.org/10.1017/s002204690500432x.

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This paper does not discuss the authenticity or antiquity of the Holy Shroud. It addresses the problem of its historical appearance in the 1350s and its antecedents, if any, before that date. It is suggested that the object owed its creation (if a replica) or its transmission into Europe (if genuinely a relic) to the efforts of members of the Franciscan order. It speculates particularly on the role of Spirituals of that order aligned with Fra Angelo Clareno and his associates. The conclusions do not assert but suggest the thesis, and advance it as a line of inquiry meriting further pursuit.

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16

Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler." Balkanistic Forum 29, no. 3 (November 1, 2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.

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The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.

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Barba, S., A. di Filippo, M. Limongiello, and B. Messina. "INTEGRATION OF ACTIVE SENSORS FOR GEOMETRIC ANALYSIS OF THE CHAPEL OF THE HOLY SHROUD." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 20, 2019): 149–56. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-149-2019.

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<p><strong>Abstract.</strong> The digital acquisition of Cultural Heritage is a complex process, highly depending on the nature of the object as well as the purpose of its detection. Even if there are different survey techniques and sensors that allow the generation of realistic 3D models, defined by a good metric quality and a detail consistent with the geometric characteristics of the object, an interesting goal could be to develop a unified treatment of the methodologies. The Chapel of the Holy Shroud, with its intricate articulation, becomes the benchmark to test an integrated protocol between a terrestrial laser scanner (TLS) and a wearable mobile laser system (WMLS) based on a SLAM approach. In order to quantify the accuracy and precision of the latter solution, several forms of comparison are proposed. For the case study the ZEB-REVO, produced and marketed by GeoSLAM, is tested. Computations of cloud-to-cloud (C2C) absolute distances, comparisons of slices and extractions of planar features are performed, using stationary laser scanner (Faro Focus<sup>S</sup> S350) as a reference. Finally, the obtained results are reported, allowing us to assert that the quality of the WMLS measurements is compatible with the data provided by the manufacturer, thus making the instrumentation suitable for certain specific applications.</p>

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18

Jones, Amelia. "Holy Body:." TDR/The Drama Review 50, no. 1 (March 2006): 159–69. http://dx.doi.org/10.1162/dram.2006.50.1.159.

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Expanding on Ron Athey's legacy of exposing the holiness of his body in body art performances, and on Julianna Snapper's training as an opera singer, Judas Cradle evokes relations of desire, connection, and repulsion. Holy Body takes off from the queer ethics proffered by Judas Cradle through a rapturous and sometimes pained interpretive hysteria directed toward affirming the erotic ethics implicit in the piece.

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19

Gove, H. E. "Dating the Turin Shroud—An Assessment." Radiocarbon 32, no. 1 (1990): 87–92. http://dx.doi.org/10.1017/s0033822200039990.

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An assessment is made of the credibility of the radiocarbon dating of the shroud of Turin. The quoted final results produced a calibrated calendar age range of AD 1260–1390 for the linen of the Turin shroud at a 95% confidence level. The measurements were carried out independently in three accelerator mass spectrometry (AMS) laboratories located at the University of Arizona, Tucson, Arizona, USA, Oxford University, Oxford, England, and ETH-Hönggerberg, Zürich, Switzerland with assistance for certification and data analysis provided by the British Museum. The author concludes that, although the procedures followed differed substantially from those recommended at a workshop organized by the Pontifical Academy of Sciences, the results are credible. Although of negligible scientific value, they represent a major public triumph for the AMS method of carbon dating. However, many doubts have been raised, both real and fanciful, concerning the validity of the results and these are discussed. It is suggested that steps should be taken to conserve the shroud and that permission should be given for its examination by experts in medieval art.

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Rocha, Manuel Joaquim Moreira da, and Sofia Nunes Vechina. "Imagens da Via Crucis: cenários de ritualização, sacralização e devoção, no norte e centro de Portugal." CEM, no. 14 (2022): 321–44. http://dx.doi.org/10.21747/2182-1097/14a17.

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Passionist religiosity was gradually established from the 12th and 13th centuries onwards, encouraged by the Franciscan ideals of imitation, meditation, and devotion to Christ, with St. Francis becoming the very image of sorrowful humanity as he received the stigmata of Christ. The medieval cult of the Passion, reiterated in the Council of Trent, continued into the Modern Age, and is preserved today in manifestations of spirituality and popular devotion, experienced through artistic images of the Passion of Christ, as well as the veneration of relics of Vera Cruz, the shroud, among others. The liturgy and devotion have used and still use these images in religious solemnities, of which the Holy Week ceremonies stand out, as well as in theatrical performances in which the image serves as a vehicle mediating between two worlds, the earthly and the celestial, following the itineraries of the Stations of the Cross which, from the 15th century onwards, allow us to relive the final stages of Christ’s earthly life in the Holy Land.

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21

Wright, Steve. "Holy Listening-The Art of Spiritual Direction?" Nursing Standard 18, no. 14 (December 17, 2003): 27. http://dx.doi.org/10.7748/ns.18.14.27.s46.

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22

Bevilacqua, M., G. Fanti, and M. D’Arienzo. "The Causes of Jesus’ Death in the Light of the Holy Bible and the Turin Shroud." Open Journal of Trauma 1, no. 2 (April 11, 2017): 037–46. http://dx.doi.org/10.17352/ojt.000009.

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23

KUBAREV, V. V. "DATING THE NEW TESTAMENT." Archivarius 7, no. 6(60) (July 20, 2021): 4–11. http://dx.doi.org/10.52013/2524-0935-60-6-1.

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Based on a thorough analysis of the chronicles of Ancient and New Rome, Ancient Russia, Great Bulgaria and Arabic sources, as well as the texts of the Gospels, the author made a reconstruction of the ancestral tree of Jesus Christ and the events of the New Testament, linking them to real historical figures and astronomical phenomena. In addition, the author compares the facts of the appearance of the canonical image of Jesus Christ on icons, mosaics and frescoes, the Holy Shroud, and coins of ancient states. The author justifies the dating of the events of the New Testament to the beginning of the XI century on the basis of established facts, and not the generally accepted canons of faith.

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Glade, Shirley A., and Rodney Grierson. "Gates of Mystery: The Art of Holy Russia." Russian Review 54, no. 4 (October 1995): 621. http://dx.doi.org/10.2307/131626.

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Yuryeva, Marina V. "Continuity of Traditions in the Theotokos Shroud Images Creation: From Royal Craftwork Rooms — to Modern Russian Workshops." Observatory of Culture 16, no. 5 (December 4, 2019): 546–59. http://dx.doi.org/10.25281/2072-3156-2019-16-5-546-559.

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In modern practices of Russian Orthodoxy, the feast of the Virgin Mary Dormition is solemnized with great splendor. During these celebrations in large and small religious centers, a liturgical image, in the Russian Orthodox Church called “The Theotokos Holy Shroud”, becomes the central temple image. This article, for the first time, makes an attempt to track down a continuity in the Dormition Shroud images creation — from royal craftwork rooms of medieval Russia to modern workshops. Learning on previous masterpieces, present-day apprentices contribute to preservation and development of the unique traditions of national culture. The article introduces into scientific circulation a number of rare artifacts that become a subject of research for the first time. The study provides facts refuting the nowadays-widespread opinions that, in the alleged absence of material evidence (preserved monuments) of an earlier time, the period in which these images originated dates back to the late 19th century. This determines the relevance of the study. The author comes to the conclusion that, however brief and undescriptive the data recorded in documentary sources are, they make it clear that these relics already existed in the late Middle Ages, though questions of authorship and artistic value of the works still remain to be answered. This analysis becomes possible through studying the Synodal era images discovered in vestiaries of churches in the Moscow region, as well as those reported in some historical descriptions. Modern masters recreate works of high artistic level, applying a combination of the ancient heritage and the modern variety of materials and innovative technologies. The data presented in the article contribute to further studying of the issues embracing emergence and spread of the liturgical images of the Theotokos Shroud in the practices of Russian Orthodoxy. It is also important to trace back the historical background of those selected artifacts first mentioned in this paper.

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Simpson, Roger. "Sacred Relics: Travelers and the Holy Grail." Arthuriana 21, no. 2 (2011): 42–58. http://dx.doi.org/10.1353/art.2011.0020.

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Firestein, Gary S. "NF-?B: Holy Grail for rheumatoid arthritis?" Arthritis & Rheumatism 50, no. 8 (2004): 2381–86. http://dx.doi.org/10.1002/art.20468.

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Bezhuk, O. M. "Religious relics of Italy." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 91 (November 16, 2018): 111–15. http://dx.doi.org/10.32718/nvlvet9123.

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Religions have always played a significant role in the formation of the statehood and development of such powerful states as the Byzantine Empire, the Holy Roman Empire, the Kievan Rus, or the Empire of Charlemagne. Peculiarities of the national culture are dictated by its faith. This is due to the fact that folk traditions, mentality, political structure, peculiarities of the historical trajectory of each nation including the religious development, have a tremendous influence on the religious aspects of nations and states. Religious attitudes, religious morality, practice of ceremonies, and church institutions deeply penetrate into everyday lives of people and countries in particular, largely determine their local originality as well as national and cultural identity. In general, the influence of religious-confessional factors is felt at all levels of organization of society’s life. The diversity of its manifestations is unlimited, and basically, it is not the impact on the life, but the life itself. This thesis should always be remembered either when illuminating the tourist resources of the country or the conditions of organization of the tourism business. The article is referred to the religious tourism in Italy – the country on the territory of which Christianity (Holy Roman Empire) arose. The article concideres such religious objects of Rome as Vatican, the Basilica of St. Peter, the area around the Capitol, religious practices of the city of Loreto called the Holy House, as well as the worship of sacred Turin Shroud.

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De Kesel, Marc. "Holy Crisis. On the Problem that Espouses Modern Art to Modern Spirituality." Perichoresis 18, no. 3 (July 1, 2020): 47–61. http://dx.doi.org/10.2478/perc-2020-0016.

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AbstractVisual art owes its modernity from the crisis it fell into in the midst of the nineteenth century. Courbet’s call for realism questioned the foundation of the art of his time. The incapacity of the series of ‘-isms’ that followed to answer Courbet’s call, pointed to a crisis not only in art, but in the then emerging non-artistic visual culture in general. In fact, Courbet’s call questioned the image paradigm that was in force since the Renaissance: the one of ‘representation’. The crisis of art laid bare the crisis of the representation paradigm. Modern art’s complex relation to religion and spirituality must be understood in the context of this paradigm crisis. Although generally anti-religious, modern art often keeps on being fascinated by religion, spirituality, and mysticism. The ‘religious’, the ‘holy’, the ‘sanctity’ modern art is inclined to, is linked to the crisis it originates from. Does this reference to the religious and the spiritual, then, constitute the answer to that crisis? I defend the thesis that it rather affirms this very crisis. If there is something ‘holy’ in art, it is not the answer to which it makes people long, but it is art’s inherent crisis itself. If art has a ‘holy’ mission, it is to keep that crisis on the agenda of modernity.

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Martin, Jennifer Newsome. "Sainthood as Selfhood: The Dramatic Art of Becoming Holy." Newman Studies Journal 18, no. 2 (2021): 5–22. http://dx.doi.org/10.1353/nsj.2021.0016.

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Monro, Gordon. "Emergence and Generative Art." Leonardo 42, no. 5 (October 2009): 476–77. http://dx.doi.org/10.1162/leon.2009.42.5.476.

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Emergence, the idea that in some sense more comes out of a system than was put in, is the holy grail of generative art. Yet emergence is a slippery concept. Originating in the philosophy of science, it has been taken up in systems theory, cognitive science and Artificial Life. As a consequence there are numerous definitions of emergence in the literature, but none well-suited to discussions of generative art. The paper reviews some existing definitions and proposes a new definition of generative-art emergence.

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Simpson, Roger. "Sir Tarquin and The Holy Grail at Hawkstone Park." Arthuriana 17, no. 2 (2007): 50–61. http://dx.doi.org/10.1353/art.2007.0028.

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Mahoney, Dhira B. "The Holy Grail: Imagination and Belief by Richard Barber." Arthuriana 16, no. 4 (2006): 78–80. http://dx.doi.org/10.1353/art.2006.0048.

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Traxler, Janina P. "The Holy Grail: Imagination and Belief by Richard Barber." Arthuriana 16, no. 4 (2006): 81–82. http://dx.doi.org/10.1353/art.2006.0059.

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Weiss, Katherine. "‘Of her tenacious trace’: Samuel Beckett and Contemporary Art." Journal of Beckett Studies 30, no. 2 (September 2021): 174–87. http://dx.doi.org/10.3366/jobs.2021.0339.

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This chapter explores how three contemporary artists, Claire-Lise Holy, Dorothy Cross and Arlene Shechet, have been inspired by Samuel Beckett's prose and drama, works that foreground the need and agony for being perceived and the desire to be still and silent. Holy, Cross and Shechet take up Beckett's themes of gaze and petrification, particularly as seen in Beckett's works for women. For these contemporary artists, distilling the female form on paper, canvas, stone, or video is an act of creating a trace, inviting the viewer to participate, looking upon their women with empathy. Holy, whose drawings of antiquated women resemble those of Beckett's late plays, shares with Beckett the need for us to see these women. Cross, too, draws on the importance of seeing and remaining, inviting us to act our part in recognising that we are only a moment in ancient history. Her female forms, inspired by Footfalls, recede, and as they do so, we are tempted to follow. Drawn to Happy Days, Shechet asks that we look forward beginning conversations about the here, now, and the future. She asks that in the process, creatures like Winnie who cry out, are not forgotten. For this to happen, our gaze must go beyond objectifying Winnie. These artists, like Beckett, challenge us to see differently – a empathic gaze that never forgets.

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sadek, sherin. "DIFFERENT ATTITUDES OF THE HOLY VIRGIN MARY IN COPTIC ART." Conference Book of the General Union of Arab Archeologists 13, no. 13 (December 1, 2010): 38–66. http://dx.doi.org/10.21608/cguaa.2010.37719.

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Butterfield, Alexandra Carlile. "Holy Motherhood and Heavenly Fetus: Encouraging Maternity in Medieval Art." Comitatus: A Journal of Medieval and Renaissance Studies 52, no. 52 (2021): 165–85. http://dx.doi.org/10.1353/cjm.2021.0006.

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Herrick, Richard S. "The Art of Teaching Chemistry: College of the Holy Cross." Journal of Chemical Education 71, no. 11 (November 1994): 926. http://dx.doi.org/10.1021/ed071p926.2.

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McCullough, Ann. "The Quest of the Holy Grail ed. by Judith Shoaf." Arthuriana 29, no. 4 (2019): 85–86. http://dx.doi.org/10.1353/art.2019.0048.

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Scavone, Daniel. "Joseph of Arimathea, the Holy Grail, and the Edessa Icon." Arthuriana 9, no. 4 (1999): 1–31. http://dx.doi.org/10.1353/art.1999.0007.

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Kaufmann, Thomas DaCosta. "Introduction." Central European History 18, no. 1 (March 1985): 4–13. http://dx.doi.org/10.1017/s0008938900016873.

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This issue of Central European History may at first seem some-what unexpected. All the following papers pertain to the early modern period. All of them moreover originated in connection with an exhibition of works of art, “Drawings from the Holy Roman Empire, 1540–1680. A Selection from North American Collections,” its published catalogue, and a symposium, “The Culture of the Holy Roman Empire, 1540–1680,” held on the occasion of the exhibition's opening. The papers published in this issue are accordingly essays in art, literary, intellectual, and, more generally, cultural history; some words may be needed to explain how they come to appear here now.

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McCrone, Walter C. "False Antiquities: Authentication of Art & Archaeological Objects - The Turin Shroud & The Vinland Map." Medico-Legal Journal 67, no. 4 (January 1999): 135–46. http://dx.doi.org/10.1258/rsmmlj.67.4.135.

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McCrone, W. C. "False Antiquities: Authentication of Art & Archaeological Objects - The Turin Shroud & The Vinland Map." Medico-Legal Journal 67, no. 4 (January 1, 1999): 135–46. http://dx.doi.org/10.1258/spmlj.67.4.135.

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Stiles, Peter. "Book Review: The Holy Spirit and the Art of Becoming Human: Steven R. Guthrie, Creator Spirit: The Holy Spirit and the Art of Becoming Human." Expository Times 124, no. 12 (July 18, 2013): 609. http://dx.doi.org/10.1177/0014524613494546e.

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MOHAMED, MAHGOUB. "On 'iltifat' and its use in the Holy Qur'an." Journal of King Abdulaziz University-Arts and Humanities 4, no. 1 (1991): 179–92. http://dx.doi.org/10.4197/art.4-1.8.

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Bahat, Dan, and J. Folda. "The Art of the Crusaders in the Holy Land, 1098-1187." Sixteenth Century Journal 28, no. 3 (1997): 904. http://dx.doi.org/10.2307/2543034.

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Prior, Michael. "The State of the Art: Biblical Scholarship and the Holy Land." Holy Land Studies 1, no. 2 (March 2003): 192–218. http://dx.doi.org/10.3366/hls.2003.0003.

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Studying the Bible in Jerusalem raises unique exegetical questions. The establishment of the state-for-Jews (Judenstaat) inevitably led to the expulsion of Arabs, while Jerusalem itself remains a major issue of the Israeli-Palestinian dispute. The conflict has international implications also, highlighted since 11 September 2001. The killings on that day precipitated the ‘War on Terrorism’ and the USA's ‘Civilizing Crusade’, with more to come. The ‘Christian Right’ in the US, with its characteristic interpretation of the Bible, has considerable influence over US policy. The establishment biblical academy, however, shows few signs of moral perturbation arising from the fact that the Bible is alleged to justify the political arrangements in the Holy Land. This article argues that biblical scholars, in addition to attending to the original contexts of the biblical authors, ought to engage in a moral evaluation of their writings, particularly those land traditions that continue to fuel violence, not least in the Land of the Bible itself. Biblical scholars have the moral responsibility to engage in real, contemporary issues with a view to helping construct a better world.

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Ward, Frances. "David Marno, Death Be Not Proud: The Art of Holy Attention." Theology 123, no. 1 (January 2020): 53–54. http://dx.doi.org/10.1177/0040571x19883536i.

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Hart, Kevin. "David Marno, Death Be Not Proud: The Art of Holy Attention." Christianity & Literature 67, no. 2 (February 18, 2018): 395–98. http://dx.doi.org/10.1177/0148333118758072.

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Tokarska-Bakir, Joanna. "WHY IS THE HOLY IMAGE "TRUE"? THE ONTOLOGICAL CONCEPT OF TRUTH AS A PRINCIPLE OF SELF-AUTHENTICATION OF FOLK DEVOTIONAL EFFIGIES IN THE 18TH AND 19TH CENTURY." Numen 49, no. 3 (2002): 255–81. http://dx.doi.org/10.1163/156852702320263936.

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AbstractThe present article examines the twofold material provided by analyses of the borderline between the ethnology of religion and the history of folk art. It refers first of all to the etiological legends of holy images venerated in Central and Eastern Europe in the post-tridentine period, and secondly to folk holy images, in particular woodcut prints, self-declared as "true images," which were widespread until the last century, and richly represented in Polish folk piety.

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