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Journal articles on the topic 'Matriarchs (Bible) in art'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Kruschwitz, Jonathan. "Tamar among the matriarchs: Godless and perhaps closer to God." Review & Expositor 115, no. 4 (2018): 542–55. http://dx.doi.org/10.1177/0034637318795429.

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Is Tamar among the matriarchs? At first glance, not at all. She draws a striking contrast to precedent in her identity, her fertility, her breach of bridal convention, and most significantly the antagonism and absence of God in her procreative plight. Yet her story still alludes extensively to the matriarchal experience, suggesting that she is perhaps a matriarch after all, but one on whom matriarchy fits differently. This study accordingly explores how Tamar might stretch and develop matriarchal identity. In particular, it draws special attention to a resonance between her experience and a na

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2

Weiler, Joseph H. H. "Love and marriage: Revisiting patriarchy and matriarchy in biblical narrative." Studia Iuridica, no. 90 (June 27, 2022): 204–20. http://dx.doi.org/10.31338/2544-3135.si.2022-90.12.

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The article deals with various patterns of marriage relationships which were depicted in the Old Testament (Book of Genesis). Three types of marriages are distinguished there based, inter alia, upon the love relationships of the patriarchs: Abraham, Isaac and Jacob. Those patterns are founded upon the realism of the Bible narrative which provides for different, sometimes difficult and “loveless”, relationships among the couples. The article also argues that gender was not always determinative of the functional and even public role of the Patriarchs and Matriarchs where, for example, Rebecca, n

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3

Blais, Gérard. "Bible et art." Tangence, no. 35 (1992): 105. http://dx.doi.org/10.7202/025702ar.

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4

Cottin, Jérôme. "Bible et art." Études théologiques et religieuses 67, no. 2 (1992): 259–64. http://dx.doi.org/10.3406/ether.1992.3196.

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5

Zawanowska, Marzena. "In the Border-Land of Literalism: Interpretative Scripture Alterations in Medieval Karaite Translations of the Bible into Arabic." Intellectual History of the Islamicate World 1, no. 1-2 (2013): 179–202. http://dx.doi.org/10.1163/2212943x-20130108.

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With a perfectly faithful translation being but a pipe dream, every interpreter exercises certain degree of freedom in choosing what he perceives as the most appropriate representation of the source text in the target language. This flexible dimension is discernible also in overall literalistic approach of medieval Karaite translators of the Hebrew Bible into Arabic. The article focuses on non-theological alterations demonstrated in their renderings of scriptural verses, which are intended to modify rather than clarify the original meanings. It pays special attention to distinct ways in which

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Stavely, Keith W. F. "Roger Williams: Bible politics and Bible art." Prose Studies 14, no. 3 (1991): 76–91. http://dx.doi.org/10.1080/01440359108586447.

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Schroeder, Joy A. "Elizabeth Wilson, the Bible, and the Legal Rights of Women in the Nineteenth Century." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 5, no. 2 (2011): 219–32. http://dx.doi.org/10.1558/post.v5i2.219.

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In 1849, Elizabeth Wilson (fl. 1849-1850) published an impassioned defense of women’s rights entitled A Scriptural View of Woman’s Rights and Duties. Her work critiques patriarchy in church and society, arguing in favor of women’s social and legal rights within marriage. Challenging prominent male biblical commentators, Wilson asserted that male and female were created as equal co-sovereigns over creation. She claimed that biblical patriarchs and matriarchs exercised equal authority within the marriage relationship. Wilson’s most striking example is Abigail, who distributed household property,

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8

Gordon, R. P., and S. Bar-Efrat. "Narrative Art in the Bible." Vetus Testamentum 41, no. 3 (1991): 371. http://dx.doi.org/10.2307/1519087.

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9

Liu, Yingmei. "The Art of Bible Translation." Translation Review 108, no. 1 (2020): 111–15. http://dx.doi.org/10.1080/07374836.2020.1826148.

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Mooney, Sharon Fish. "Poetry, Art, and the Bible." Journal of Christian Nursing 34, no. 4 (2017): 256. http://dx.doi.org/10.1097/cnj.0000000000000422.

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11

Aston, Margaret. "The Bishops’ Bible Illustrations." Studies in Church History 28 (1992): 267–85. http://dx.doi.org/10.1017/s0424208400012493.

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The illustrations in the Bishops’ Bible have received more attention from art historians than from historians, though their story—which turns out to have been remarkably complicated—calls for the skills of both disciplines. The tale, which I can only outline here, throws interesting light on the state of the arts and art censorship in the early Elizabethan Church, at a time when there was much interrelationship between England and continental artists and craftsmen.

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12

Price, David H. "Hans Holbein the Younger and Reformation Bible Production." Church History 86, no. 4 (2017): 998–1040. http://dx.doi.org/10.1017/s0009640717002086.

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Hans Holbein the Younger produced a large corpus of illustrations that appeared in an astonishing variety of Bibles, including Latin Vulgate editions, Desiderius Erasmus's Greek New Testament, rival German translations by Martin Luther and Ulrich Zwingli, the English Coverdale Bible, as well as in Holbein's profoundly influential Icones veteris testamenti (Images of the Old Testament)—to name only his better-known contributions. This essay discusses strategies that the artist developed for accommodating the heterogeneity of the various humanist and Reformation Bibles. For Erasmus's innovative

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13

Kader, Themina. "The Bible of Art History: Gardner's "Art Through the Ages"." Studies in Art Education 41, no. 2 (2000): 164. http://dx.doi.org/10.2307/1320661.

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14

Spittler, Janet. "Picturing the bible the earliest christian art." Material Religion 5, no. 2 (2009): 249–50. http://dx.doi.org/10.2752/174322009x12448040552124.

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15

Sawyer, John F. A. "Robert Alter, The Art of Bible Translation." Theology 122, no. 5 (2019): 370–71. http://dx.doi.org/10.1177/0040571x19858952.

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Mason, Rex. "Book Review: Narrative Art in the Bible." Theology 92, no. 748 (1989): 303–4. http://dx.doi.org/10.1177/0040571x8909200413.

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Good, Deirdre. "Bible, Art, Gallery, edited by Martin O’Kane." Relegere: Studies in Religion and Reception 4, no. 2 (2015): 301. http://dx.doi.org/10.11157/rsrr4-2-664.

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18

Tov, Emanuel. "Europe and the Jewish-Christian Bible." Sabornost, no. 14 (2020): 1–12. http://dx.doi.org/10.5937/sabornost2014001t.

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The aim of this paper is to illustrate the influence of the Bible on European culture in three main aspects: language (translation), art and name-giving. Considering the vast impact of the Bible, this influence may be compared with that of classical culture. Fist part of the paper examines the influence of the Hebrew biblical expressions on the European languages in which Bible was translated into and then it continues with an analysis of the influence of the biblical characters, stories and motifs on European art. The last part researches the influence of the Hebrew names on the name-giving t

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Dinkler, Michal Beth. "Influence: On Rhetoric and Biblical Interpretation." Brill Research Perspectives in Biblical Interpretation 4, no. 3 (2021): 1–105. http://dx.doi.org/10.1163/24057657-12340017.

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Abstract The influence of the Bible in human history is staggering. Biblical texts have inspired grand social advancements, intellectual inquiries, and aesthetic achievements. Yet, the Bible has also given rise to hatred, violence, and oppression—often with deadly consequences. How does the Bible exert such extraordinary influence? The short answer is rhetoric. In Influence: On Rhetoric and Biblical Interpretation, Michal Beth Dinkler demonstrates that, contrary to popular opinion, rhetoric is not inherently “empty” or disingenuous. Rhetoric refers to the art of persuasion. Dinkler argues that

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20

Bair, Lynda E. "The Art and Science of Medieval Manuscripts." Journal of Interdisciplinary Studies 5, no. 1 (1993): 25–44. http://dx.doi.org/10.5840/jis199351/23.

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The University of Paris could lay claim to being the center of scholarship and theology in thirteenth-century Europe. Around this center, a community of craftsmen gathered to fulfill many needs of the University population. One of these needs was for a portable pocket Bible. This essay explores a preeminent craft associated with the University of Paris, that of the manuscript workshop. Exemplar leaves are examined with respect to the production steps of the Parisian pocket Bible. Conclusions reached concern the planned book layout and artist involvement in its production, including a reconstru

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Bair, Lynda E. "The Art and Science of Medieval Manuscripts." Journal of Interdisciplinary Studies 5, no. 1 (1993): 25–44. http://dx.doi.org/10.5840/jis199351/23.

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The University of Paris could lay claim to being the center of scholarship and theology in thirteenth-century Europe. Around this center, a community of craftsmen gathered to fulfill many needs of the University population. One of these needs was for a portable pocket Bible. This essay explores a preeminent craft associated with the University of Paris, that of the manuscript workshop. Exemplar leaves are examined with respect to the production steps of the Parisian pocket Bible. Conclusions reached concern the planned book layout and artist involvement in its production, including a reconstru

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22

Prior, Michael. "The State of the Art: Biblical Scholarship and the Holy Land." Holy Land Studies 1, no. 2 (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 biblic

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23

Seferyan, Sona. "Shakespeare and the Bible." Armenian Folia Anglistika 1, no. 1-2 (1) (2005): 113–15. http://dx.doi.org/10.46991/afa/2005.1.1-2.113.

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In the Armenian reality the translations of Shakespeare’s works have been studied from diverse perspectives – text equivalence, choice of words, fidelity to style and poeticism. The Armenian classical translator Hovhannes Massehian was the first who investigated the imagery of the original and Biblical allusions. He revealed the Biblical language of Shakespeare and used Armenian equivalents in his interpretations. The most successful translations of 12 Shakespearean works by Massehyan confirm the invaluable contribution that the Armenian translator made in the history of the art of translation

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24

Williams, Peter J. "The Art of Bible Translation. By Robert Alter." Journal of Theological Studies 71, no. 1 (2020): 281–83. http://dx.doi.org/10.1093/jts/flaa022.

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Jones, Tom Devonshire. "Book Review: The Bible in Twentieth-Century Art." Theology 92, no. 745 (1989): 72–73. http://dx.doi.org/10.1177/0040571x8909200129.

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26

Backenroth, Ofra Arieli. "ART ANDRASHI: A PORTRAIT OF A BIBLE TEACHER." Religious Education 99, no. 2 (2004): 151–66. http://dx.doi.org/10.1080/00344080490433747.

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27

Eskenazi, Tamara Cohn. "The Bible in Politics and Politics in the Bible." Journal of Biblical Literature 144, no. 1 (2025): 6–19. https://doi.org/10.15699/jbl.1441.2025.1b.

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Abstract This essay has three goals. With the definition of politics as the art of learning to live together (Aristotle and Hannah Arendt), it aims (1) to highlight some reasons why the Bible should be part of our public political conversations at this time of turmoil; (2) to suggest what we, as scholars and members of the SBL, can contribute to such conversations; and (3) to touch on issues of ethics and interpretation, in particular as they pertain to the attitudes toward the Hebrew Bible and toward one another. I examine why renewed attention to placing the Bible in its own cultural and his

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Krawczyk, Roman. "Kulturowy, antropologiczny i teologiczny wymiar Biblii." Teologiczne Studia Siedleckie XIV (2017) 14, no. 2017 (2021): 21–36. https://doi.org/10.5281/zenodo.4723470.

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<strong>Cultural, anthropological and theological dimension of Bible</strong> Making an attempt to depict the Bible’s address, the Author limits hit efforts to presenting it from three points of view: cultural, anthropological and theological. The cultural aspect of the Bible has made it impact all fields of the world culture, i.e. literary, artistic, film, music and iconographic work, plastic art, etc. The richness of anthropological expression found in the Bible is narrowed by the Author to the statement that the humankind is created by God (Genesis 1,26). In that statement the Author

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Kseniia, Soshnikova. "Time and the Universe in the Iconography of the Guyart des Moulins’s “Bible Historiale”." ISTORIYA 14, no. 7 (129) (2023): 0. http://dx.doi.org/10.18254/s207987840027013-3.

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This article is devoted to the study of Guyart des Moulins’s “Bible Historiale” (“Historical Bible”) illumination art on the example of two codices preserved in the National Library of Russia. The “Bible Historiale”, which combined the translation of the Vulgate and the “Historia Scholastica” by Peter Comestor into French, was one of the most popular translations of the Bible in France and preserved in numerous copies. The manuscripts from the National Library of Russia stand out among other surviving copies of the Guyart des Moulins’s work for their unusual iconography. The author examines th

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Zwirn, Stephen R. "Exhibition Review: "Picturing the Bible: The Earliest Christian Art"." Gesta 47, no. 1 (2008): 67–76. http://dx.doi.org/10.2307/20648961.

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31

Sloan, Andrew C. "Book Review: Robert Alter, The Art of Bible Translation." Anglican Theological Review 103, no. 3 (2021): 363–64. http://dx.doi.org/10.1177/00033286211017124.

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32

Mau, Marthen. "Kajian Manfaat Alkitab Menurut 2 Timotius 3:16 Dan Implikasinya Bagi Orang Percaya Masa Kini." Manna Rafflesia 7, no. 2 (2021): 235–57. http://dx.doi.org/10.38091/man_raf.v7i2.144.

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The only special revelation is the Bible which God has breathed as the main source for human learning, so that it can organize his life responsibly in service and life every day. Today some people think that the Bible is outdated and of no longer useful to mankind because this is the age of science, technology, and art. However, some people still believe that the Bible is very useful for mankind, therefore the Bible must be studied carefully so that the contents of the Bible are understood as a whole. This paper aims to encourage and inspire new enthusiasm for believers to be active in studyin

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33

Beaumont, Sheona. "Engaging with the Bible in Visual Culture." Religion and the Arts 23, no. 4 (2019): 411–33. http://dx.doi.org/10.1163/15685292-02304004.

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Abstract Increasingly articulate contemporary art practices are engaging with biblical representation, revealing new relationships with religion through the availability of the word in image. Taking as exemplary the photographic publication of Adam Broomberg and Oliver Chanarin’s Holy Bible (2013), this essay considers the evidence for their hermeneutics between image and word that is characterized by open awareness of and expansive participation in the (rereading of the) Bible. Discussing this engagement, I explore imagistic readings of the Bible through the artists’ strategies of interpolati

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Jose, Chiramel Paul. "Blake’s Songs, Their Introductions and the Bible." English Language and Literature Studies 7, no. 2 (2017): 43. http://dx.doi.org/10.5539/ells.v7n2p43.

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Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did kee

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35

Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.

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AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1

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36

Hoekema, Alle G. "Fan Pu (China): The Bible Interpreted through the Art of Paper Cutting." Exchange 43, no. 4 (2014): 379–89. http://dx.doi.org/10.1163/1572543x-12341338.

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In this article two major volumes with Chinese paper cut art by Fan Pu (Paula Fan) are reviewed. In her work it becomes clear how a traditional type of folk art can be transformed by using new techniques and material. By doing so, Fan Pu is able to make modern Christian art, which hopefully also appeals to present-day Chinese people. Herself being an evangelical Christian, she interestingly also uses sayings by pre-Christian Chinese sages like Confucius in her art; their wisdom can be seen as a kind of preparatio evangelica. The two works, analyzed here, together form a catalog of her work so

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Jobe, Sarah. "Carceral Hermeneutics: Discovering the Bible in Prison and Prison in the Bible." Religions 10, no. 2 (2019): 101. http://dx.doi.org/10.3390/rel10020101.

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This essay introduces the concept of “carceral hermeneutics,” the art of interpreting Scripture from within prisons as, or alongside, incarcerated persons. Reading the Bible in prison reframes the Bible as a whole, highlighting how the original sites of textual production were frequently sites of exile, prison, confinement, and control. Drawing on the work of Lauren F. Winner, the author explores the “characteristic damages” of reading the Bible without attention to the carceral and suggests that physically re-locating the task of biblical interpretation can unmask interpretative damage and re

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Campbell, W. Gordon. "The “Last Word” in Pictures: Enhanced Visual Interpretation of Revelation in Luther’s High German Bible (1534)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 11, no. 1 (2020): 5–33. http://dx.doi.org/10.1558/post.17389.

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For the last twenty-five years of his life, Martin Luther and his associates were active in Bible translation, publishing first the New Testament, from 1522 onwards, and by 1534—at roughly the mid-point of these endeavours—the whole Bible in German. Across this entire period, until his death, Luther continuously offered reader-viewers of the final New Testament book, Revelation, not only verbal commentary—in a preface (1522), or replacement preface with accompanying marginal notes (1530)—but visual exegesis, in the form of successive series of woodcut engravings designed to illustrate the text

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39

Patton, Matthew H. "Listening to the Bible: The Art of Faithful Biblical Interpretation." Bulletin for Biblical Research 24, no. 4 (2014): 536–37. http://dx.doi.org/10.2307/26371318.

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Jones, Tom Devonshire. "Book Review: Imaging the Bible: An Introduction to Biblical Art." Theology 112, no. 869 (2009): 394–96. http://dx.doi.org/10.1177/0040571x0911200532.

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41

Kawashima, Robert S. "Verbal Medium and Narrative Art in Homer and the Bible." Philosophy and Literature 28, no. 1 (2004): 103–17. http://dx.doi.org/10.1353/phl.2004.0010.

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42

Kamesar, Adam. "Ambrose, Philo, and the Presence of Art in the Bible." Journal of Early Christian Studies 9, no. 1 (2001): 73–103. http://dx.doi.org/10.1353/earl.2001.0011.

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43

Bonfiglio, Ryan P. "Art, Agency, and Anti-Idol Polemics in the Hebrew Bible." Hebrew Bible and Ancient Israel 13, no. 1 (2024): 134. http://dx.doi.org/10.1628/hebai-2024-0007.

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44

de Regt, Lénart J. "Robert Alter's New Translation of the Hebrew Bible: An Assessment for Translators." Bible Translator 73, no. 2 (2022): 157–73. http://dx.doi.org/10.1177/20516770211042273.

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In the introduction to his new translation of the Hebrew Bible, Robert Alter is quite explicit about the task he set himself: “The present translation is an experiment in re-presenting the Bible in a language that conveys with some precision the semantic nuances and the lively orchestration of literary effects of the Hebrew and at the same time has stylistic and rhythmic integrity as literary English.” Alter explains this in more detail in the introduction and in his book, The Art of Bible Translation, with explicit criticisms of other English translations. In this paper I will explore Alter's

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Arifudin, Dani, and Deuis Nur Astrida. "PENERAPAN PITCH BIBLE DALAM PRODUKSI FILM ANIMASI 2D LEGENDA NAYA SENTIKA." Askara: Jurnal Seni dan Desain 1, no. 1 (2022): 43–54. http://dx.doi.org/10.20895/askara.v1i1.602.

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Perkembangan teknologi di bidang perfilman salah satunya adalah Animasi. Dalam proses produksinya ada banyak bagian yang harus dikerjakan, mulai dari menemukan ide, scenario/naskah cerita, Storyboard, concept art, animation of Storyboard, recording and casting, music and sound FX dan lain-lain. Tentunya dalam proses produksi ini melibatkan banyak bagian dalam tim produksi, sehingga masing-masing bagian harus menjalin komunikasi yang efektif dan efisien serta mendokumentasikan hasil kerjanya ke dalam sebuah dokumen, salah satu panduannya yaitu Animation Pitch Bible. Pada penelitian ini penerapa

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Arifudin, Dani, and Deuis Nur Astrida. "PENERAPAN PITCH BIBLE DALAM PRODUKSI FILM ANIMASI 2D LEGENDA NAYA SENTIKA." ASKARA: Jurnal Seni dan Desain 1, no. 1 (2022): 43–54. http://dx.doi.org/10.20895/askara.v1i01.602.

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Perkembangan teknologi di bidang perfilman salah satunya adalah Animasi. Dalam proses produksinya ada banyak bagian yang harus dikerjakan, mulai dari menemukan ide, scenario/naskah cerita, Storyboard, concept art, animation of Storyboard, recording and casting, music and sound FX dan lain-lain. Tentunya dalam proses produksi ini melibatkan banyak bagian dalam tim produksi, sehingga masing-masing bagian harus menjalin komunikasi yang efektif dan efisien serta mendokumentasikan hasil kerjanya ke dalam sebuah dokumen, salah satu panduannya yaitu Animation Pitch Bible. Pada penelitian ini penerapa

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47

Stander, H. F. "'n Splinternuwe uitdaging wag op Bybelvertalers." HTS Teologiese Studies / Theological Studies 51, no. 1 (1995): 147–66. http://dx.doi.org/10.4102/hts.v51i1.5770.

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A new challenge for Bible translators A few decades ago the development of the dynamic-equivalent method of translation (which later became known as functional equivalence) broke radically away from the formal and traditional method of translation. Since then the functional-equivalent approach has undergone refinement, but the development can no longer be called revolutionary. However, research in the art of translation has now shifted from the method of translation to the format of the printed text (also called the paralinguistic features of the text). In this article practical examples are g

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48

Dillon, Amanda. "“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53." Religions 14, no. 3 (2023): 370. http://dx.doi.org/10.3390/rel14030370.

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The Arma Christi, the instruments of the Passion of Christ, are a fascinating collection of symbols evident throughout the history of Christian art. This article considers the striking re-emergence of visual depictions of the Arma Christi in the contemporary spiritual practice of Bible Journaling. How have these symbols of the Passion made their way back into the popular Christian imaginary and creative expression of Bible readers today? The creative, devotional practice of Bible Journaling is gaining popularity in many countries, notably the US. Almost exclusively practiced by women, Bible Jo

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Mumford, Debra J., and Africa S. Hands. "Preaching Justice through Art." Homiletic 45, no. 2 (2020): 14–24. http://dx.doi.org/10.15695/hmltc.v45i2.4997.

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As the saying goes, “A picture is worth a thousand words.” However, the printed word—more specifically, scripture—has been the traditional base of the sermon. Through a personal experience reflection, this paper advocates using artwork as the foundational text for sermons, and presents an approach to art exegesis based on the practical method of art criticism. Employing art historian and educator Edmund Burke Feldman’s approach to art criticism, the authors present a step-by-step exegesis of an artwork that mirrors the exegesis of biblical texts, including selecting an artwork, exegeting the a

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Smith, Nigel. "To Network or Not to Network." Church History and Religious Culture 101, no. 2-3 (2021): 376–98. http://dx.doi.org/10.1163/18712428-bja10022.

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Abstract This article contrasts hostility toward visual and literary art in English radical Puritanism before the late seventeenth century with the central role of art for Dutch Mennonites, many involved in the commercial prosperity of Amsterdam. Both 1620s Mennonites and 1650s–1660s Quakers debated the relationship between literal truth of the Bible and claims for the power of a personally felt Holy Spirit. This was the intra-Mennonite “Two-Word Dispute,” and for Quakers an opportunity to attack Puritans who argued that the Bible was literally the Word of God, not the “light within.” Mennonit

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