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Journal articles on the topic 'Religious images and art'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art." Classical Quarterly 46, no. 2 (December 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.

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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art

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Coates, Andrew T. "What is Protestant Art." Brill Research Perspectives in Religion and the Arts 1, no. 2 (May 30, 2017): 1–141. http://dx.doi.org/10.1163/24688878-12340002.

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AbstractWhat is Protestant Art?offers a brief introduction to the field of Protestant visual culture. It argues that the diversity of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than the term ‘art.’ Examining images from the Reformation to the twentieth century, this review essay showcases the breadth of ways Protestants have put images to work in their religious practices. Containing dozens of illustrations,What is Protestant Art?provides the reader with an overview of current research on Protestant visual culture, as well a

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Nosova, Ekaterina S. "Religious views of Cardinal Gabriele Paleotti on sacred art." Izvestiya of Saratov University. New Series. Series: History. International Relations 21, no. 2 (June 23, 2021): 200–205. http://dx.doi.org/10.18500/1819-4907-2021-21-2-200-205.

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Being founded upon the book «Instructions on religious and secular images» (1582), the article examines cardinal Gabriele Paleotti’s views on sacred art. The author explores the issue of perception of painting as a God-pleasing art, exposes the ideological aspect of sacred painting and reveals the cardinal’s complex evidence base on the need for the existence of religious images in churches and their significance in the life of every person. It is concluded that objects of art should be perceived not only as an artistic commentary on the text of Holy Scripture, but also as a prayer image that

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French, Kara M. "Evolving Images of Women Religious in Nineteenth-Century American Art." American Catholic Studies 132, no. 1 (2021): 105–19. http://dx.doi.org/10.1353/acs.2021.0013.

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Kleeblatt, Norman. "Disobedient Images." IMAGES 1, no. 1 (2007): 15–21. http://dx.doi.org/10.1163/187180007782347566.

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AbstractNorman L. Kleeblatt discusses four works of art that present problems of interpretation and reception, each of which touches on visual and textual taboos. Avoidance of works of art with such problematic images is a natural response. However, confrontation of the meanings intended by the artists frequently open new avenues for investigation and interpretation, not to mention new iconographies that often contradict the assumptions of art at the intersection with Jewish culture.

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Birrell, Ross. "The Radical Negativity and Paradoxical Performativity of Postmodern Iconoclasm: Marcel Duchamp and Antonin Artaud." Theatre Research International 25, no. 3 (2000): 276–83. http://dx.doi.org/10.1017/s0307883300019738.

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‘Iconoclasm grew from the destruction of religious images and opposition to the religious use of images to, literally, the destruction of, and opposition to, any images or works of art and, metaphorically, the “attacking or overthrow of venerated institutions and cherished beliefs, regarded as fallacious or superstitious”’. Dario Gamboni.

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Kavun, V. M. "The semantics of religious images in the art of the renaissance." Humanitarian studios: pedagogics, psychology, philosophy 3, no. 152 (December 2020): 106–13. http://dx.doi.org/10.31548/hspedagog2020.03.106.

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Purpose of research is to consider the culture and art of the Renaissance and explore the semantics of religious images of the outlined period. Methodology. The tasks posed in this work led to the use of the following research methods, namely: analysis and synthesis, generalization and systematization of theoretical material, comparison and generalization of the result obtained in the process of studying theoretical material and specialized publications covering this issue. The solution of the tasks was achieved by applying the comparative historical, descriptive, logical and systemic methods.

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Menes, Julia C. "The Language of Images in Roman Art - Tonio Hölscher." Religious Studies Review 32, no. 4 (October 2006): 258. http://dx.doi.org/10.1111/j.1748-0922.2006.00115_4.x.

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Titarenko, S. D. "FUNCTIONS OF THE VISUAL IMAGES IN OF CHRIST AND ANTICHRIST TRILOGY BY D.S. MEREZHKOVSKY." Culture and Text, no. 43 (2020): 126–43. http://dx.doi.org/10.37386/2305-4077-2020-4-126-143.

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The article is devoted to the functions of intermediality in the symbolist novels by D. S. Merezhkovsky (Christ and the Antichrist trilogy). Intermediality is considered as a constructive and structural basis of the novels and the principle of poetics.Visual images of art reflect the writer’s theurgical aesthetics and his conceptual religious-philosophical ideas. They are the basis of the mysteriological-mythological plot and perform functions of the symbolic “crossing” of various religions and cultures borders. The article concludes that intermediality in the structure of the symbolist novel

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Miller, Robert. "Medieval illuminated manuscripts: Online images and resources." College & Research Libraries News 78, no. 6 (June 6, 2017): 334. http://dx.doi.org/10.5860/crln.78.6.334.

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With their rich representation of medieval life and thought, illuminated manuscripts serve as primary sources for scholars in any number of fields: history, literature, art history, women’s studies, religious studies, philosophy, the history of science, and more.

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Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.

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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace

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Stahl, Devan. "The Prophetic Challenge of Disability Art." Journal of the Society of Christian Ethics 39, no. 2 (2019): 251–68. http://dx.doi.org/10.5840/jsce2019102312.

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For many persons with chronic illness and disability, medical images can come to represent their stigmatized “otherness.” A growing group of artists, however, are transforming their medical images into works of visual art, which better represent their lived experience and challenge viewers to see disability and illness differently. Although few of these artists are self-professed Christians, they challenge the Church to live into the communion to which it has been called. Using a method of correlation, Christian ethicists can find within this art the potential for: (1) creative resistance to m

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HSU, Maria Min-Hui. "An Investigation into the Importance of «Inculturation» in the Image of Our Lady in Relation to Visual Arts in Religious Education according to Monica Liu." Foro de Educación 18, no. 1 (January 4, 2020): 167–87. http://dx.doi.org/10.14516/fde.677.

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The purpose of this paper is to emphasize the importance of «inculturation» in the religious images drawn by Monica Liu (Ho-Pei), a unique artist who promoted Religious Art and Education in Taiwan. Monica Liu adopted Western Christianity into Chinese art to create paintings that reflect her love for nature as well as Our Lady who is deeply venerated in the Catholic Church and regarded as the mother of humanity. This paper is a qualitative research based on an interview conducted with Huang Wan-Yun, a protégée of Monica Liu who had a very close relationship with the latter during the last ten y

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Baskind, Samantha. "Impossible Images: Contemporary Art after the Holocaust (review)." American Jewish History 91, no. 1 (2003): 169–71. http://dx.doi.org/10.1353/ajh.2004.0023.

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Kahn, Brian. "Impossible Images: Contemporary Art after the Holocaust (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 24, no. 1 (2005): 160–62. http://dx.doi.org/10.1353/sho.2005.0191.

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Mellet, Paul-Alexis. "Images polémiques, images dissidentes. Art et Réforme à Strasbourg (1520-vers 1550), by Frank Muller." Church History and Religious Culture 99, no. 1 (May 27, 2019): 83–85. http://dx.doi.org/10.1163/18712428-09901025.

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Moran, Maureen. "THE ART OF LOOKING DANGEROUSLY: VICTORIAN IMAGES OF MARTYRDOM." Victorian Literature and Culture 32, no. 2 (September 2004): 475–93. http://dx.doi.org/10.1017/s1060150304000610.

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BETWEEN1863AND1865 Gerard Manley Hopkins maintained a “little bk. for sins” as a record arising from his daily examination of conscience (6). Many of the failings seem sexually oriented: “Looking with terrible temptation at Maitland” and “Looking at temptations esp. at Geldart naked” (191, 174). The poet's guilty annotations of the illicit homoerotic pleasures of spectatorship are even more striking when the devout Hopkins associates perverse desire with the contemplation of bodies tortured for a religious cause: “Evil thought slightly in drawing made worse by drawing a crucified arm on same p

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hudgins, sharon. "Edible Art: Springerle Cookies." Gastronomica 4, no. 4 (2004): 66–71. http://dx.doi.org/10.1525/gfc.2004.4.4.66.

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Edible Arte: Springerle Cookies Springerle are white, anise-flavored cookies with a picture or design imprinted on the tops by specially carved rolling pins or flat molds. Sometimes the raised designs are also painted to enhance their appearance. A regional specialty of German Schwabia, Springerle are also baked in Alsace, Switzerland, Bavaria, and Bohemia. With roots in the pre-Christian era, Springerle are among several kinds of cookies shaped, molded, or decorated to depict animate or inanimate objects. The designs embossed on the tops of Springerle include religious figures, plants and ani

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Remtilla, Aliaa. "Potentially an “Art Object”: Tajik Ismaʿilis’ Bāteni and Zāheri Engagement with Their Imam’s Image". Journal of Persianate Studies 4, № 2 (2011): 189–207. http://dx.doi.org/10.1163/187471611x600387.

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Abstract This essay explores the way Ismaʿili Muslims living in the Tajik district of Ishkashim engage with images of their religious leader, the Imam (Aga Khan IV). I use Gell’s theory of art and agency to think through instances in which Ishkashimis imbue photographs of their Imam with the capacity to act. They do not treat these images as idols but abduct qualities of the Imam himself, such as his benevolent presence, from his icon. Ishkashimis do not imbue all images of their Imam with agency. Other images, such as newspaper photographs and films, provide information about the Imam as a po

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Atkinson, Maggie. "Healing Vibrations through Visionary Art." Religion and the Arts 19, no. 4 (2015): 339–88. http://dx.doi.org/10.1163/15685292-01904003.

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Nineteenth-century visionary artist Georgiana Houghton believed in the healing qualities of her art, and she educated religious teachers and clergy about the nature of her spiritual images. This article examines Houghton’s mediumistic paintings and seeks to demonstrate how her experimentation with vibrant colors and manipulation of form prefigured early modernist painting techniques. In addition, this analysis expands on how Houghton transformed her knowledge of the tenets of Spiritualism, which she amalgamated with her understanding of the science of botany to produce flower form spiritual po

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Holt, Amy-Ruth, and Karen Pechilis. "Contemporary Images of Hindu Bhakti: Identity and Visuality." Journal of Hindu Studies 12, no. 2 (August 1, 2019): 129–41. http://dx.doi.org/10.1093/jhs/hiz007.

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Abstract Historians writing on modernity often remark on the power of the visual, appealing to Walter Benjamin's influential observation that ‘modernity under late capitalism is dominated, and haunted, by dream-images and commodified visual fetishes’ (Benjamin 1968; Levin 1993, p.23; Ramaswamy 2003, p.xiii). Yet, studies of bhakti commonly focus on the literature and biographies of the bhakti saints instead of its visual dimensions in art, material culture, and performance. In this special issue, scholars of religion and art history writing on diverse visual cultures, communities, and geograph

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Thiessen, Gesa Elsbeth. "Not So Unorthodox: A Reevaluation of Tricephalous Images of the Trinity." Theological Studies 79, no. 2 (May 29, 2018): 399–426. http://dx.doi.org/10.1177/0040563918766704.

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Among the various iconographies of the Trinity which emerged in Christian art, the three-headed or trifrons image has a contested history. Warned about and censured by two popes, Urban VIII and Benedict XIV, this iconography, despite condemnations, was applied, however, by leading Renaissance artists and survived into the nineteenth century in folk art. This article considers its pre-Christian background, the sixteenth-century theological debates, and, finally, in a detailed engagement with a range of tricephalous images, it critically reevaluates and seeks to demonstrate the disputed orthodox

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Lymberopoulou, Angeliki. "Sight and the Byzantine icon." Body and Religion 2, no. 1 (June 14, 2018): 46–67. http://dx.doi.org/10.1558/bar.36484.

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This article addresses the sense of sight through case studies drawn from Byzantine art, the art of Orthodox Christianity. Vision is central to Orthodox worship, facilitated by images known as icons. By enabling the visualization of the invisible divine, the importance of icons is paramount in enhancing the faithful’s religious experience.

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Jasper, David. "In the Beginning Was the Word?" Biblical Interpretation 6, no. 3-4 (1998): 426–36. http://dx.doi.org/10.1163/156851598x00093.

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AbstractLeo Steinberg's republished and much expanded work, The Sexuality of Christ in Renaissance Art and in Modern Oblivion, argues that the custom in Renaissance paintings of portraying the genitals of the Christ Child has a serious theological purpose which our word-based culture and tradition has consigned to 'oblivion'. His book has profound implications for the status of the visual image in theological reflection and the nature of the 'textuality' of art as it reads, and is read by, the textuality of the Bible. Furthermore, such images contribute to contemporary debates concerning gende

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Lewis-Williams, J. David, and David G. Pearce. "San rock art: evidence and argument." Antiquity 89, no. 345 (June 2015): 732–39. http://dx.doi.org/10.15184/aqy.2014.51.

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Whether or not a ‘trance-dance’ akin to that of today's Kalahari San (Bushmen) was performed by southern /Xam San in the nineteenth century has long been the subject of intense debate. Here the authors point to parallels between nineteenth-century records of San life and beliefs and twentieth-century San ethnography from the Kalahari Desert in order to argue that this cultural practice was shared by these two geographically and chronologically distant groups. More significantly, it is suggested that these ethnographic parallels allow a clearer understanding of the religious and ritual practice

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Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.

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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.

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Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY." Study of Religion, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.

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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives

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Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art." Synthesis 25, no. 2 (December 31, 2018): e042. http://dx.doi.org/10.24215/1851779xe042.

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In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather tha

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Greeley, June-Ann. "“Who Would Believe What We Have Heard?”: Christian Spirituality and Images from the Passion in Religious Art of New Spain." Religion and the Arts 13, no. 2 (2009): 181–204. http://dx.doi.org/10.1163/156852909x422737.

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AbstractThe colonial art of New Spain/Mexico provides the viewer with a locus of examination into the robust Christianity that emerged over time out of a native spirituality newly laden with the contours and images from the Old World theology of late medieval/early Catholic Reformation Spain. Franciscan and especially Jesuit missionaries, impelled by a devotional zealotry, championed an apocalyptic vision of hope and suffering that was well suited for artistic expression. Religious art, whether or not patronized by European colonizers, became an instrument for the missionaries to teach and for

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Bland, Kalman. "Welcoming Images: Medievally." IMAGES 1, no. 1 (2007): 1–2. http://dx.doi.org/10.1163/187180007782347575.

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AbstractInformed by theoretical considerations distinguishing "visual culture" from "art history" as articulated by W. J. T. Mitchell, this essay compares the editorial programs of two neonatal, overlapping, yet distinct journals: Ars Judaica and Images. The essay concludes by considering passages from two medieval Jewish authorities, Joseph Albo and Judah Alharizi, that suggest new horizons in criticism made possible by Images. Among these horizons are "investigations of the negative and repellent."

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Luchesi, Brigitte. "Looking Different: Images of Hindu Deities in Temple and Museum Spaces." Journal of Religion in Europe 4, no. 1 (2011): 184–203. http://dx.doi.org/10.1163/187489210x553557.

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AbstractEuropeans familiar with sacred Hindu art from visits to museums often are perplexed when they encounter similar objects in temples and sacred sites. The exhibits tend to look different. This can be explained by the different ways to present them as well as the different underlying conceptions which in turn guide the perception and behaviour of the beholders.

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Loftus, Belinda. "Northern Ireland 1968–1988: Enter an Art Historian in Search of a Useful Theory." Sociological Review 35, no. 1_suppl (May 1987): 99–133. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00084.x.

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Publications and museum or art-gallery displays have tended to separate the visual images related to the Northern Ireland troubles into illustrations of history, works of art and media imagery. These distinct categories to some degree reflect the growing specialisation of art workers in Europe from the late eighteenth century onwards. But in the context of the Northern Ireland conflict visual images patently cut across such distinctions. Fine art works have direct political and therefore historical impact; media images use and are used by the producers of popular emblems; visual styles are hel

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TASSI, NICO. "‘Dancing the image’: materiality and spirituality in Andean religious ‘images’." Journal of the Royal Anthropological Institute 18, no. 2 (May 2, 2012): 285–310. http://dx.doi.org/10.1111/j.1467-9655.2012.01744.x.

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Morgan, David. "Imaging Protestant Piety: The Icons of Warner Sallman." Religion and American Culture: A Journal of Interpretation 3, no. 1 (1993): 29–47. http://dx.doi.org/10.1525/rac.1993.3.1.03a00020.

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Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work

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Natsoulas, Anthula. "Group Symmetries Connect Art and History with Mathematics." Mathematics Teacher 93, no. 5 (May 2000): 364–70. http://dx.doi.org/10.5951/mt.93.5.0364.

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Throughout history, different cultures have produced designs to be used as ornamentation, as part of ceremonies, and as religious symbols. Many of these designs are mathematical in nature, and their bases are often the transformations of reflection and rotation in the plane. The images form groupings that appear to have an underlying unity. Thus, history and art merge to create a medium through which students can study the concrete operations of reflection and rotation in the plane, as well as the more abstract concept of symmetry groups. The resulting patterns give students a sense of the pot

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Schildgen, Brenda Deen. "Thomas More and the Defense of Images in the Dialogue Concerning Heresies." Moreana 47 (Number 181-, no. 3-4 (December 2010): 235–56. http://dx.doi.org/10.3366/more.2010.47.3-4.12.

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Thomas More’s Dialogue Concerning Heresies (1529) argues against iconoclasm in the context of Reformation attacks against the role of art in pious practices. In probing the biblical prohibitions against “idols” and not against images, he follows a long tradition of defense of images in Catholic religious practice. Repeating the Byzantine councils that had debated the image issue and Gregory the Great’s sixth-century letters to the Bishop of Marseilles, he distinguishes between worship and veneration to argue that devotion to images is not idolatry. His unique contribution is to argue against “

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Galli, Marco. "Hellenistic Court Imagery in the Early Buddhist Art of Gandhara." Ancient Civilizations from Scythia to Siberia 17, no. 2 (2011): 279–329. http://dx.doi.org/10.1163/157005711x595158.

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Abstract The focus of the paper is on the relationship between Gandharan artistic culture and the presence of a Hellenistic court milieu during the 1st cent. before and after CE in the territories of Ancient Uḍḍīyāna. What emerges from new literary and archaeological evidences are significant interactions between artistic production and the evergetism made by the princes of Apraca and Oḍi: many evidences demonstrate the substantial involvement as donors of these local dynasties in the construction of the sacred landscape. What influence did these local dynasties have in the structuring of reli

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Litvinova, Olga. "BIBLE QUOTES AND IMAGES IN THE POETRY OF MARIA SHKAPSKAYA." Проблемы исторической поэтики 19, no. 2 (May 2021): 198–234. http://dx.doi.org/10.15393/j9.art.2021.9462.

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This article is the first to examine in detail the complete corpus of Biblical quotations in the poetry of Maria Shkapskaya, including unpublished handwritten texts. The article uses the material in books Mater dolorosa (1921), Chas vecherniy (1913—1917) (The Evening Hour (1913—1917), 1922), Baraban Strogogo Gospodina (The Drum of the Strict Master, 1922), Krov’-ruda (Blood-ore, 1922), Zemnye remyosla (The Earthly Crafts, 1925) and the poem “Yav’” (“Reality,” 1923), as well as texts from the notebooks of 1903—1907, 1913—1920 and Vcherashnee, a project of a book of poems (Yesterday, 1916) with

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Hudgins, Nicole. "Art and Death in French Photographs of Ruins, 1914-1918." Historical Reflections/Réflexions Historiques 42, no. 3 (December 1, 2016): 51–70. http://dx.doi.org/10.3167/hrrh.2016.420304.

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The avalanche of ruin photography in the archives, albums, publications, and propaganda of World War I France challenges us to understand what functions such images fulfilled beyond their use as visual documentation. Did wartime images of ruin continue the European tradition of ruiniste art that went back hundreds of years? Or did their violence represent a break from the past? This article explores how ruin photography of the period fits into a larger aesthetic heritage in France, and how the depiction of ruins (religious, industrial, residential, etc.) on the French side of the Western Front

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Jasper, D. "Old Testament Apocryphal Images in European Art (Gothenberg Studies in Art and Architecture, 30). By Elizabeth Philpot." Literature and Theology 25, no. 4 (August 22, 2011): 479–80. http://dx.doi.org/10.1093/litthe/frr033.

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Rissolo, Dominique. "In the Realm of Rain Gods: A Contextual Survey of Rock Art across the Northern Maya Lowlands." Heritage 3, no. 4 (September 27, 2020): 1094–108. http://dx.doi.org/10.3390/heritage3040061.

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Regional rock art studies have provided insight into the role of caves in Maya ideology and worldview. In addition to the content of the imagery itself, the placement or siting of rock art with respect to natural and cultural features within the cave environment can reveal much about the function and meaning of cave use practices. This comparative analysis of rock art emphasizes contextual considerations with a discussion on the spatial and symbolic relationships between images in individual caves. Rock art in the northern Maya lowlands is commonly associated with watery areas and pathways lea

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Sansi, Roger. "From crime to art. Contradictions in the cultural transformation of Afro-Brazilian Candomblé." Social Compass 67, no. 2 (May 6, 2020): 238–51. http://dx.doi.org/10.1177/0037768620917090.

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The Afro-Brazilian religion Candomblé radically changed in the twentieth century. From being persecuted as crime and sorcery, it has become identified as culture. Its objects and images have become works of art. This article presents this process of ‘culturalization’ through objects and images. This transformation, however, resulted in some contradictions, that left some of these objects in ambiguous positions. This case study aims to contribute to current debates on the agency of objects and images in material religion.

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Peers, Glenn. "Art and Identity in an Amulet Roll from Fourteenth-Century Trebizond." Church History and Religious Culture 89, no. 1 (2009): 153–78. http://dx.doi.org/10.1163/187124109x408041.

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AbstractThis article examines a unique survival from the Middle Ages: an amulet roll, now divided between libraries in New York City and Chicago, which now measures approximately 5 m in width and 8–9 cm in width, which has Greek texts on the obverse and Arabic on the reverse, and a series of very fine illustrations on the Greek side. Analysis of the roll reveals that it originated in Trebizond in the second half of the fourteenth century, and the roll is therefore considered within the cultural and political context of that small but active Greek kingdom. The article pays particular attention

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Küster, Volker. "Speaking of God in Memory of September 11th, 2001. An Aesthetic Approach." Exchange 36, no. 3 (2007): 231–45. http://dx.doi.org/10.1163/157254307x205748.

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AbstractGod talk is visual speech, even contrary to monotheistic religions' prohibition against images. The power of the images unleashed by terrorists on 9/11 is grounded in a conflict of powerful images of God that drive the combatants into this jihad and 'war against evil or terror' respectively. This article contrasts works of art portraying the violence and terror of 9/11 or the conflicts in the Muslim world with the images of 9/11 itself. Three criteria of vision, distance and inviolacy are derived from this comparative approach. They can also be used as a yardstick to gauge competing im

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Nechvoloda, E. E. "THE ISLAMIC INFLUENCE ON THE TRADITIONAL BASHKIR ART." Islam in the modern world 14, no. 3 (October 2, 2018): 235–46. http://dx.doi.org/10.22311/2074-1529-2018-14-3-235-246.

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It is the geometric and vegetal ornamental motifs that dominate in the works of traditional arts and crafts of the Bashkir people. The Bashkirs are Muslims. Therefore, the popularity of abstract ornamental forms in their artistic creativity is often associated with the religious prohibition against images of human beings, animals and birds. However, a comparative historical study of the Bashkir ornaments shows that basic types of geometric and vegetal motifs and also their compositions were formed long before the adoption of Islam by the ancestors of the Bashkirs. Anthropomorphic, ornitomorphi

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Pinto, Sílvia, and Moisés de Lemos Martins. "Binding logics in art." Comunicação e Sociedade 31 (June 29, 2017): 271–86. http://dx.doi.org/10.17231/comsoc.31(2017).2617.

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The work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of ar

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Williams, Joanna. "Criticizing and Evaluating the Visual Arts in India: Preliminary Example." Journal of Asian Studies 47, no. 1 (February 1988): 3–28. http://dx.doi.org/10.2307/2056357.

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By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?

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Moore McAllen, Katherine. "Jesuit Winemaking and Art Production in Northern New Spain." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 294–314. http://dx.doi.org/10.1163/22141332-00602006.

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This article presents new research on Jesuit visual culture in northern New Spain, situating Santa María de las Parras (founded 1598) as an important site where the Jesuits and secular landowners became involved in the lucrative business of winemaking. Viticulture in Parras helped transform this mission settlement into a thriving center of consumption. The Jesuits fostered alliances with Spanish and Tlaxcalan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. This financial support allowed the Society

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Pereira, Diana. "Healing Touch: Clothed Images of the Virgin in Early Modern Portugal." Ikonotheka, no. 29 (September 16, 2020): 51–78. http://dx.doi.org/10.31338/2657-6015ik.29.7.

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Over the last decades there was a growing interest in religious materiality, miraculous images, votive practices, and how the faithful engaged with devotional art, as well as a renewed impetus to discuss the long-recognized association between sculpture and touch, after the predominance of the visuality approach. Additionally, the neglected phenomenon of clothing statues has also been increasingly explored. Based on the reading of Santuario Mariano (1707–1723), written by Friar Agostinho de Santa Maria (1642–1728), this paper will closely examine those topics. Besides producing a monumental ca

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Racine, Jean-François. "Book Review: Contested Ethnicities and Images. Studies in Acts and Art. By David L. Balch." Theological Studies 78, no. 1 (March 2017): 267–68. http://dx.doi.org/10.1177/0040563916682641.

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