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Journal articles on the topic 'Mary of the Angels Church'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Guzewicz, Wojciech. "Kościoły i parafie diecezji ełckiej (cz. 15)." Civitas et Lex 41, no. 1 (2024): 7–20. http://dx.doi.org/10.31648/cetl.9393.

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The article presents the church centers in Monkinie (Our Lady of the Angels), Nowa Wieś Ełcka (St. Joseph the Craftsman), Okartowo (Immaculate Heart of the Blessed Virgin Mary) and two in Olecko (Blessed Virgin Mary Queen of Poland and Exaltation of the Holy Cross).

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Tulić, Damir, and Mario Pintarić. "Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter." Ars Adriatica 7, no. 1 (2017): 227. http://dx.doi.org/10.15291/ars.1394.

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In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar

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Pencakowski, Paweł. "The lamented Coronation of Virgin Mary by Włodzimierz Tetmajer in the Cathedral Church in Sosnowiec." Modus Prace z Historii Sztuki 24 (2024): 97–112. https://doi.org/10.4467/25453882mod.24.008.20665.

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The text presents significant and previously overlooked aspects of the iconographic program of the Young Poland-era mural decoration by Kraków painters Włodzimierz Tetmajer and Henryk Uziembło in the Church of the Assumption of the Blessed Virgin Mary in Sosnowiec. The murals were created in the main city of the Silesian- Dąbrowa Basin during the turbulent years of 1904–1906. An analysis of the program’s elements indicates that the depiction of the Coronation of Mary at the center of the church deviates from traditional and unequivocal representations. The interpretation of the iconography rev

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Koberová, Veronika, and Ladislav Bartoš. "Glass Window and door panes in the Capuchin church of Saint Mary of the Angels at Hradčany." Staletá Praha 34, no. 2 (2018): 112–30. http://dx.doi.org/10.56112/sp.2018.2.05.

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Schwartz, Nancy. "Dreaming in Color: Anti-Essentialism in Legio Maria Dream Narratives." Journal of Religion in Africa 35, no. 2 (2005): 159–96. http://dx.doi.org/10.1163/1570066054024631.

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AbstractThe article examines dreaming and dream narratives in Legio Maria, sub-Saharan Africa's largest African instituted church with a Roman Catholic background. Most Legios valorize a Black Christ and Black Mary but do so while espousing anti-essentialist attitudes towards racialization of the sacred. The social, cultural and symbolic hybridity of the Joluo (Kenya Luo), who still form the majority of the membership in this multi-ethnic, multi-national church, has influenced Legios' religious outlook. Legios' views are contrasted with some white and black theologies that take more monochrome

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Jurković, Ivan, and Ivana Prijatelj Pavičić. "Nova interpretacija sadržaja slike Lazzara Bastianija u samostanu sv. Frane u Zadru." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 52, no. 3 (2020): 225–85. http://dx.doi.org/10.17234/radovizhp.52.25.

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The sacristy of the monastic Church of St. Francis (Sveti Frane) in Zadar, held by the Franciscan Province of Saint Jerome, holds a painting by Lazzaro Bastiani, a Venetian painter of the early Renaissance. The painting is venerated as a depiction of the Virgin of Mercy (Ara Coeli). The upper section of the painting features the Blessed Virgin Mary and the infant Jesus. The Virgin is shown sitting in a mandorla made of angels with a crescent beneath her feet. God the Father is placing a crown on her head. Two angels are holding the ends of her outspread cloak, in front of which are saints: the

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Ditlevsen, Kirsten. "Maria - et forbillede for kristne? Grundtvigs syn på Jomfru Maria." Grundtvig-Studier 42, no. 1 (1991): 112–33. http://dx.doi.org/10.7146/grs.v42i1.16062.

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Mary - a Model for Christians..... ? Grundtvig’s View of Virgin MaryBy Kirsten DitlevsenThe Protestant Church has always tended to keep warily aloof from the Virgin Mary, and still does. After the Reformation, Mary played a very insignificant role in the church, at least up to the time of Grundtvig. The fact is that Grundtvig begins to take an interest in Mary, inspired by the church father Irenaeus. Grundtvig compares Eve in the Garden of Eden with Mary in Nazareth. Both women were met with an angel’s talk. A false angel beguiled Eve into violating the word of God; while a true angel came to

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Resende, Joaquim Francisco Batista, and Antonio Luiz Catelan Ferreira. "ESCOLA DE MARIA, MÃE DE DEUS, AJUDA MATERNA NA CONSTRUÇÃO DA PAZ ENTRE OS HOMENS." Coletânea 20, no. 39 (2021): 221–34. http://dx.doi.org/10.31607/coletanea-v20i39-2021-11.

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This paper explores the thinking of the theologian and Emeritus Pope Benedict XVI, focusing on the pronounced homilies at Solemnities of Mary, Mother of God, and of the Assumption, and in the allocutions at Angelus, about Mary’s mission in the economy of salvation, the comprehension of the title “Mother of God” and its consequences to Christian’s Faith. Benedict XVI’s mariology is in perfect harmony with the Second Vatican Council, which opened a new path in the Church, presented Mary as a perfect model for the Church and maternal aid for a peaceful coexistence, always and exclusively guided b

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Radovanovic, Janko. "New contribution to studying fresco of Holy Virgin Milkprofferer in Pec." Balcanica, no. 32-33 (2002): 253–62. http://dx.doi.org/10.2298/balc0233253r.

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In the church dedicated to Holy Virgin Odigitria in the Patriarchate of Pec, the foundation of Archepiscope Danilo II, among several images of Virgin Mary the greatest attention of the researchers was attracted by Holy Virgin the Milkprofferer (Nurturer). Mother of God was painted on the southern wall of the narthex, sitting in the throne with the child Christ suckling in her lap. On the left and right side two angels are represented, showing their respect. To the right, three young women or girls approach, greeting her with their arms outstretched. The fresco was painted about 1330. Close lin

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Stoenescu, Livia. "Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma." Religions 12, no. 8 (2021): 609. http://dx.doi.org/10.3390/rel12080609.

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Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and s

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Clark, Roland. "The Heterodoxy of Female Mysticism Before and During State Socialism: Vasilica Barbu and the Vladimireşti Convent." Review of Ecumenical Studies Sibiu 14, no. 2 (2022): 240–62. http://dx.doi.org/10.2478/ress-2022-0104.

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Abstract Vasilica Barbu, also known as Mother Veronica, a seer and then an abbess in mid-twentieth century Romania, had visions of Jesus, Mary, and a variety of angels and saints, beginning in 1937. Supported by her parish priest and other local believers, she published an account of her visions and founded a convent for adolescent girls. The Vladimireşti convent proved to be very successful, but the Securitate (secret police) decided to close it down on the grounds that it was harbouring fascist fugitives. A close reading of how Barbu navigated the challenges of poverty, patriarchy, and the r

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Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.

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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on th

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Holló, László. "The Situation of Catholic Instruction in Transylvania during the Communist Takeover." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 65, no. 2 (2020): 33–52. http://dx.doi.org/10.24193/subbtref.65.2.02.

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"In less than one year, the Catholic Church, just like the other denominations, lost its school network built along the centuries. This was the moment when the bishop wrote: “No one can resent if we shed tears over the loss of our schools and educational institutions”. Moreover, he stated that he would do everything to re-store the injustice since they could not resent if we used all the legal possibilities and instruments to retrieve our schools that we were illegally dispossessed of. Furthermore, he evaluated the situation realistically and warned the families to be more responsible. He emph

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Salman and Dr. Rani Tiwari. "Solving the Riddle of Dan Brown’s The Da Vinci Code." Creative Launcher 7, no. 4 (2022): 43–50. http://dx.doi.org/10.53032/tcl.2022.7.4.06.

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The paper focuses on analysing the novel The Da Vinci Code by Dan Brown. These are the depiction of religion (Christianity), conspiracy theories, myths and history used in the novel. There are five novels by Dan Brown of the Robert Langdon series. These are Angels and Demons, The Da Vinci Code, The Lost Symbol, Inferno and Origin respectively. The Da Vinci Code is one of the novels of the Robert Langdon series by Dan Brown. Robert Langdon is the central character in these novels. Robert Langdon, the professor in Harvard university, reveals mystery of a murder in Louvre Museum in Paris. He reve

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Charkiewicz, Jarosław. "Kult świętych w Prawosławiu." Elpis 12 (2010): 109–59. http://dx.doi.org/10.15290/elpis.2010.12.09.

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The article begins from explaining two key terms for the theme: the holiness and the the concept of theosis. In the first and second paragraph author makes general remarks on what is the sanctity of God and sanctity of the Church. Only after that it is explained what was the meaning of the word “saint” used in the Old Testament and similarities and differences of the meaning of this term in the New Testament. The Church teaching of sanctity was précised in VII–VIII centuries only, when St. John Damascenes explained the differences between of worshiping God and venerating the saints. The author

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McClelland, V. Alan. "O Felix Roma! Henry Manning, Cutts Robinson and Sacerdotal Formation 1862–1872." Recusant History 21, no. 2 (1992): 180–217. http://dx.doi.org/10.1017/s0034193200001576.

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On whit Monday, June 1st, 1857, the first general chapter of the Oblates of St. Charles Borromeo in the diocese of Westminster was held at Bayswater, one month before the splendid new gothic-conceived church of Thomas Meyer was solemnly blessed by Cardinal Wiseman and dedicated to St. Mary of the Angels, a title reflecting Manning’s enduring devotion to St. Francis of Assisi and the Franciscan Third Order. Subsequent building, extensions and additions were to be the work of John Francis Bentley. The founding group of Oblates was small, all its members being admitted as novices of the community

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17

Staněk, Karel. "Significance and Symbolism of Marian Crowns in Post-Tridentine Paintings (1550–1800)." Religion and the Arts 28, no. 5 (2024): 531–54. https://doi.org/10.1163/15685292-02805001.

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Abstract Marian art in the post-Tridentine period has already been studied from a number of angles but Marian crowns have so far received little attention. They appeared not only in coronation scenes of the Virgin Mary but also in a whole range of other Marian scenes. The crowns given to the Virgin Mary indicate seriousness and authority. She appeared as the majestic Queen of Heaven. The Roman Catholic Church and monarchs used it to legitimize their power. The crowns took on different forms—they used to be depicted mostly as made of precious metals, less often as flower wreaths or circles of s

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18

Byrne, Georgina. "‘Angels Seen Today’. The Theology of Modern Spiritualism and its Impact on Church of England Clergy, 1852–1939." Studies in Church History 45 (2009): 360–70. http://dx.doi.org/10.1017/s0424208400002631.

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In 1852 an American medium, Maria Hayden, crossed the Atlantic, landed in London and began offering séances in fashionable salons. From this point on, and certainly well into the twentieth century, spiritualism proved attractive to many. What spiritualism offered was, primarily, an extravagant claim: that it was possible for the living to communicate with the departed. By various means, people from all classes, religious traditions and geographical locations ‘tried’ the spirits, seeking to make contact with famous characters from history or departed family members. Spiritualism offered, someti

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Tičkaitė, Milda. "Conservation of Banners with Double-Sided Oil Paintings: An Experiment on the Assembly of Separately Restored Pieces." Acta Academiae Artium Vilnensis, no. 108 (March 20, 2023): 34–54. http://dx.doi.org/10.37522/aaav.108.2023.148.

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The conservation of banners with double-sided oil paintings has always faced the problem of integrating the textile part and the painting, which can no longer be solved. Either the conservation or the preservation method has to preserve the banner and the painting from further deterioration. There are very few publications on the conservation of church banners with oil paintings that highlight the main problems encountered in the conservation of these ecclesiastical objects. Most articles present the conservation of flags or painted flags, but there is no mention of the experimental aspect. Th

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O’Brien, Susan. "Making Catholic Spaces: Women, Decor, and Devotion in the English Catholic Church, 1840-1900." Studies in Church History 28 (1992): 449–64. http://dx.doi.org/10.1017/s0424208400012614.

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Nanda took in her surroundings… At the end of the corridor stood a statue of Our Lord in white robes wearing a red, thorn-circled heart on his breast like an order. The bent head with its pale brown hair and beard was girlish and gentle; the brass halo had been polished till it winked and reflected each flicker of the little glass lamp that burned on the pedestal… At the end of the passage hung a large oil painting of Our Lord, showing his five wounds … Between the lines [of desks] stood a statue of Our Lady, supported on each side by angels with folded wings and flying girdles. Nanda thought

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Goltmakor, T. "The Queer Nation Acts Up: Health Care, Politics, and Sexual Diversity in the County of Angels." Environment and Planning D: Society and Space 10, no. 6 (1992): 609–50. http://dx.doi.org/10.1068/d100609.

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The emergence of organized political groups of people with AIDS has forced issues of health and illness into a public visibility which threatens traditional assumptions of privacy and public heterosexual privilege. The struggle against the stigmatization of AIDS has forced many gay men and lesbians to reject the relative pleasures of the closet and its legal girdings in discredited notions of constitutional privacy for a radical insistence on the right to be ‘queer’ on their own terms in public. ACT UP and Queer Nation present a threat not only to prevailing state and church ideologies of powe

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Szram, Mariusz. "Kościół jako rzeczywistość wieczna w doktrynie Orygenesa." Verbum Vitae 6 (December 14, 2004): 205–26. http://dx.doi.org/10.31743/vv.1370.

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In Origens theological research, the term Church has a very wide meaning, which conveys the framework of the earthly religious institution and the community of believers. In its fundamental sense, it means the family of all rational beings created by God and His works relating to the history of angels and people. According to this Alexandrian, God created beings gifted with rational thinking, to make up one community closely bonded with Him, meaning the Church understood in a broad sense. There turned out to be an impediment to achieving this eternal plan of God because of the incorrectly u

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Bilyk, Halyna. "The Motive of Spiritual Guidance in the Literary and Artistic Works of Ivan Ohiienko." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION 20 (December 25, 2023): 155–62. http://dx.doi.org/10.32626/2309-7086.2023-20.155-162.

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The author of this paper is the fi rst to explore the motif of spiritual guid-ance in the literary and artistic heritage of Ivan Ohiienko (Metropolitan Ilarion), to highlight its content and principles of artistic deployment (motivational mod-els), to emphasize the value of this category for the life work of the prominent Ukrainian fi gure.The author hypothesizes about the motif of spiritual leadership as an organ-izing idea of the multi-volume edition of the writer’s works of 1957-1966, and argues that this is due to the representational deepening and complication of the motif: the movement f

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Jacobs, A. "De ikoon van de Boodschap aan de Moeder Gods." Het Christelijk Oosten 45, no. 1 (1993): 15–30. http://dx.doi.org/10.1163/29497663-04601004.

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The Icon of the Annunciation to the Mother of God Images of the Annunciation go back to the fifth century. The composition has remained the same over the centuries. Only minor details have changed in the course of time. Mostly the lefthand side shows us the angel Gabriel, while the righthand side is reserved for the Mother of God. Over these two persons heaven is indicated by a part of a circle. From heaven a beam of light carrying the Holy Ghost reaches the Mother of God. Although the essential elements have been taken from the Gospel of St Luke, the influence of the Apocrypha is visible in t

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Emberger, Gary. "The Nonviolent Character of God, Evolution, and the Fall of Satan." Perspectives on Science and Christian Faith 74, no. 4 (2022): 224–39. http://dx.doi.org/10.56315/pscf12-22emberger.

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The evolutionary creation model of origins best matches the scientific evidence for evolution with common descent. However, the violence and harm associated with the evolutionary history of life may be viewed as incompatible with religious traditions such as Anabaptist that understand God to be nonviolent as revealed in the life and teaching of Jesus. This article argues that malevolent wills such as fallen angels opposed God's will in the evolutionary process and that explanations for natural evils that do not recognize the corrupting activities of fallen spirit-beings make God culpable for e

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van der Aalst, A. J. "Tadros Y. Malaty, The Coptic Orthodox Church as an Ascetic Church. Los Angeles, Holy Virgin Mary Coptic Orthodox Church, 1986. 22 × 16, 176 p./Tadros Y. Malaty, The Coptic Orthodox Church as a Church of Erudition and Theology. Ottawa, St. Mary Orthodox Church, 1986. 22 × 16, 304 p./Shawky F. Karas, The Copts since the Arab Invasion: Strangers in their Land. Jersey City, The American, Canadian and Australian C. Coptic Associations, 1985. 22 × 15, 285 p." Het Christelijk Oosten 42, no. 4 (1990): 295. http://dx.doi.org/10.1163/29497663-04204014.

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27

Barczyk, Alina. "Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo – styl – program ikonograficzny." Porta Aurea, no. 20 (December 21, 2021): 26–55. http://dx.doi.org/10.26881/porta.2021.20.02.

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In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and s

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Jaromin, Joanna. "Obraz królestwa Bożego w przypowieści o sieci (Mt 13,47-50)." Wrocławski Przegląd Teologiczny 21, no. 2 (2013): 13–20. https://doi.org/10.52097/wpt.2863.

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The parable of the fishnet is one of the many Jesus’ parables which takes the subject of Kingdom of God. Here it is compared to the fishnet which gathers all the fish without distinction of their abilities. As Jesus already initiated Kingdom of God here, on earth, opening it for all with no exception. Staying in the net reflects exactly the earthly phase of Kingdom connected closely with the Church; it is the time when one can convert. As only the net will be brought out on shore, then angels will perform a division for the good and the evil. The selection will be made on the Last Judgment Day

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Tulić, Damir, and Mario Pintarić. "Altar furnishings and sculptures in the parish Church of St. Peter in Ilirska Bistrica." Kronika 71, no. 3 (2023): 519–34. http://dx.doi.org/10.56420/kronika.71.3.04.

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The paper analyses four altars made of stone and marble in the parish Church of St. Peter in Ilirska Bistrica. Stylistically and chronologically, their construction went through three phases during the eighteenth century. The oldest ones stand under the triumphal arch and may be dated to the first quarter of the eighteenth century. The altar on the left was originally dedicated to St. Nicholas, whose figure is carved on the altar frontal. It was the work of an unknown workshop influenced by the Pacassi family of altar builders from Gorizia. The sculptures were produced by an unknown local mast

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut

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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.

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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attribut

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Teule, H. "The Holy Pascha, Being the Liturgy of the Holy Week of Pascha According to the Current Usage in the Church of Alexandria. Los Angeles, The Holy Virgin Mary Coptic Orthodox Church, 1988. 28 × 21½, 504 p." Het Christelijk Oosten 45, no. 4 (1993): 299. http://dx.doi.org/10.1163/29497663-04504018.

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Stepanus, Stepanus. "Keunggulan Yesus Kristus Menurut Kolose 1:16-18." HUPERETES: Jurnal Teologi dan Pendidikan Kristen 1, no. 1 (2019): 49–61. http://dx.doi.org/10.46817/huperetes.v1i1.16.

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God’s church as always been facing obstacles and trials throughout history, the church has been challenged in many ways, whether it is from inside or outside, to bring the people’s faith to failure for centuries. Therefore, it cannot be ignored that there have been challenges in a large number. Paul wrote to the church at Colossae to respond to the false teachers that had been slipped into the church. They teach that surrendering to Christ and obedience to the apostles teaching is not sufficient to grant full salvation. These false teachers mixed philosophy and human tradition with the Gospel

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Calame, Jon. "DISSONANT HERITAGE AND THE HAZARDS OF RETENTION." Journal of Research in Architecture and Planning 30, no. 1 (2021): 10–16. http://dx.doi.org/10.53700/jrap3012021_2.

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ABSTRACT Finally, after years of negotiation and fundraising, a Confederate monument in Athens, Georgia (USA) – decorated with fresh flowers – was ready for public dedication. Many supporters, along with clergy and local politicians, were in attendance. Just as a solemn speech had begun, though, a local newspaper records the sudden arrival of a violent storm as “wind, rain and lightning… suddenly burst forward in great fury. (Merton,1956 : 30-247). The assembly scattered momentarily, then carried on in a nearby Baptist church. It was the first of many storms which would swirl around this memor

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Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.

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Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, eac

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

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

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Роксолана, Косів. "Дарохранильниці риботицьких майстрів (1690–1750-х рр.): іконографія та художнє вирішення". ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 72–87. https://doi.org/10.5281/zenodo.1313088.

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The study of the Ukrainian churches interior and its elements in the end of the 17th – first half of the 18th centuries requires an integrated approach. Not many churches preserved arrangement of that time in its original form. In order to reconstruct the appearance of church interiors, it is necessary to involve archival materials, photographic documentation, and study works in museums and private collections. The study of iconography and artistic peculiarities of church arrangement is closely linked with their sacred function in the liturgy. The aesthetic attitude and ceremonial innova

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Лазарова, Румяна. "About the Light in the Light of Orthodoxy." Праксис, no. 4(13) (December 20, 2023): 52–63. http://dx.doi.org/10.31802/praxis.2023.13.4.004.

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В статье представлена концепция о тварном и нетварном свете, основанная на современном понимании физики, фактах Священного Писания и толкованиях Святых Отцов Православной Церкви по этой теме. Основным методом исследования, который был использован, является анализ избранных естественнонаучных и православных источников, изучение и обобщение опыта духовной жизни человечества, описанного в Священном Писании и Священном Предании относительно восприятия света. Были сделаны следующие основные выводы. Материальный свет, это свет, созданный Богом в первый день сотворения мира. Возможно, что он претерпе

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Young, Frances. "The Church and Mary." Ecclesiology 5, no. 3 (2009): 276–98. http://dx.doi.org/10.1163/174413609x12466137866348.

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AbstractThe aim of this paper is to explore the theme of Mary as 'type' of the Church, and to do so with a bifocal ecumenical perspective. The first section of this paper focuses on the persisting reasons for the Protestant critique of Mariology. Mary's ambiguous role as a model for virginity shifts the focus to the second section, which directs the gaze on Mary as a pattern for all believers, the one who typifies the Church's calling – to bring Christ into the world. Protestants are challenged to take seriously the theological logic underlying Marian devotion; Orthodox and Catholics are invit

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Stuart, Jack. "Re St Michael and All Angels, Bampton." Ecclesiastical Law Journal 26, no. 2 (2024): 230–31. http://dx.doi.org/10.1017/s0956618x24000152.

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This Grade 1-listed mediaeval church had a substantial Georgian reredos. It dominated the east end of the church, hiding three-quarters of the plain-glazed east window. In 2012 a faculty permitted its temporary removal to another location in the church while essential works were done to the chancel. Following this, the consequent increase in light coming from the windows was welcomed by petitioners, and fragments of medieval wall painting were discovered behind plasterwork which the reredos had previously protected. The petitioners now wished to make the temporary removal of the reredos perman

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Methuen, Charlotte. "The Church of Mary Tudor The Theology and Spirituality of Mary Tudor's Church." Ecclesiology 4, no. 3 (2008): 356–62. http://dx.doi.org/10.1163/174553108x341332.

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Widodo, Agus. "Maria dalam Misteri Kristus dan dalam Hidup Gereja." Jurnal Teologi 10, no. 02 (2021): 195–214. http://dx.doi.org/10.24071/jt.v11i02.5931.

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Mary is a central figure in the Catholic Church. In fact, among the Christians, Mary who is a mere woman is more “popular” than Jesus who is God and savior. This can be seen in the Marian devotions and shrines which are far outnumber than the devotions and places of pilgrimage to Jesus. Mary is mother, not only for Jesus but also for the Church, that is, for all the faithful. This article will specifically discuss the life and role of Mary in the life of Jesus and the Church. Using the library research, this paper scrutinizes the Scriptures, the documents of the Church teachings, and some of l

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Wizeman, William. "The Virgin Mary in the Reign of Mary Tudor." Studies in Church History 39 (2004): 239–48. http://dx.doi.org/10.1017/s0424208400015126.

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Evidence of devotion to the Virgin Mary in the restored Catholic Church of the reign of Mary Tudor survives in numerous religious texts published from 1553 to 1558. These sermons, catechetical texts, primers, and books of devotion and polemic were written to aid the restoration of early modern Catholicism in England after twenty years of religious tumult. By considering how these texts treat devotion to Mary, it is possible to answer two questions. First, was the cult of the saints in Marian England, particularly that of the Virgin, ‘one of [t]he abiding casualties of the preceding reformation

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Stadlen, Shoël. "Michael Finnissy's ‘This Church’." Tempo 58, no. 229 (2004): 52–53. http://dx.doi.org/10.1017/s0040298204280226.

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FINNISSY: This Church. Richard Jackson (bar), Jane Mooney (mezzo), Tony Potter, Larry Yates (narrs), Philip Adams (org), IXION, Choir of Saint Mary de Haura Church and guests, The Saint Mary de Haura Handbell Ringers c. Michael Finnissy. Metier MSV CD92069.

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Horsley, G. H. R. "Mary Dolan." Buried History: The Journal of the Australian Institute of Archaeology 40 (January 1, 2005): 3–6. http://dx.doi.org/10.62614/0bxt7k17.

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When Mary Dolan’s funeral was held at St. Paul’s Presbyterian Church in Armidale, NSW on 7 April this year, the building was filled to overflowing. People were standing inside and outside. Present were family and friends from near and far, colleagues, members of probably every local church, and members of none. It was explicitly a service to give thanks for the life of one who had loving service of others and of her Master as her first priority. Mary had died suddenly in Sydney while on Australian Institute of Archaeology business; and it is her longstanding link with the Institute which makes

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Johnson, Adam J. "Where Demons Fear to Tread." Journal of Reformed Theology 9, no. 1 (2015): 37–55. http://dx.doi.org/10.1163/15697312-00901001.

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This essay consolidates, organizes, and contributes to the reflections of theologians throughout the history of the church concerning the inestimable benefits received by the un-fallen angels from Christ’s atoning death and resurrection, that we might better understand how the blood of Christ reconciles all things in heaven to God (Col. 1:20). Specifically, I explore five different ways in which the un-fallen angels are affected by the saving work of Christ, both in terms of salvation from the effects of sin, and salvation as the fulfillment of their being, while briefly considering the implic

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Cooper, J. P. D., Eamon Duffy, and David Loades. "The Church of Mary Tudor." Sixteenth Century Journal 39, no. 3 (2008): 756. http://dx.doi.org/10.2307/20479005.

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Zimdars-Swartz, Sandra. "The Church and Mary (review)." Catholic Historical Review 92, no. 4 (2006): 637–38. http://dx.doi.org/10.1353/cat.2007.0060.

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Editors, The. "Mary, Motherhood, and the Church." Communio: International Catholic Review 46, no. 2 (2019): 203–6. http://dx.doi.org/10.1353/cmm.2019.a933578.

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Newman, Elizabeth. "“All generations shall call me blessed”: A Baptist recovery of Mary." Review & Expositor 114, no. 2 (2017): 266–73. http://dx.doi.org/10.1177/0034637317705643.

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In Baptist life, Mary typically appears only at Christmas. Accordingly, there is minimal theological reflection on Mary as a resource for ecclesial self-understanding. This article argues for embracing Mary as a figure of the church. Rightly understood, a richer Scriptural reading of Mary can both enhance Baptist (and more broadly Protestant) ecclesiology as well as contribute to the unity of the church.

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