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Artykuły w czasopismach na temat „Icon of Jesus Christ”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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1

Duda, Jerzy. "Chrystus ikoną Boga w nauczaniu Orygenesa." Teologiczne Studia Siedleckie VI (2009) 6, no. 2009 (2021): 123–30. https://doi.org/10.5281/zenodo.5644651.

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<strong>Jesus Christ as the Icon of God in Origen’s teaching</strong> Origen Adamantius (c. 185 - 253), one of the most prominent exegetes of early Christianity, presented an unusual theological theory on Jesus Christ as the image of God. According to Origen, the Father, invisible and unimaginable to the entire creation, shaped his own invisible image. Adamantius regarded Jesus Christ as the only perfect image of invisible God. He claimed that a man was created to represent God. Thus, the image of God is perfected in a person who lives according to the will of God. Owing to the coming of

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Pushkin, A. "Features of Studying the Topic “Feast of the Transfiguration of Jesus Christ” Within the Framework of the Module “Fundamentals of Orthodox Culture”." Primary Education 9, no. 5 (2021): 47–52. http://dx.doi.org/10.12737/1998-0728-2021-9-5-47-52.

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The article reveals the experience of an Orthodox school teacher in teaching the course “Fundamentals of Orthodox Culture.” In accordance with the Federal State Educational Standard of Primary General Education, fourth-graders get acquainted with the Orthodox holiday of the Transfiguration of Jesus Christ. The methodology of organizing education allows younger students to form an awareness of the spiritual meaning inherent in any Orthodox holiday. The teacher uses both traditional teaching methods (retelling, essay, educational dialogue) and methods that reflect the originality of

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NEMEȘ, Olivia Florena, Ion SANDU, Constantin MĂRUȚOIU, et al. "THE INVESTIGATION OF PAINTING MATERIALS OF THE JESUS CHRIST ROYAL ICON." International Journal of Conservation Science 15, no. 4 (2024): 1703–12. https://doi.org/10.36868/ijcs.2024.04.08.

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The royal icon of Jesus Christ belongs to the “Saint Archangels Michael and Gabriel” church from the village of Gheorgheni, Cluj County, and it dates from the beginning of the 18th century. Considering the importance, the age, and the ongoing process of restoration of this icon, research has been done to establish the composition of the painting materials. The investigations were carried out using nondestructive Fourier Transform Infrared Spectroscopy (FTIR) and X-ray Fluorescence (XRF) measurements. The ground applied over the wood was identified as gypsum. The painting technique used was tem

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Wohlmuth, Josef. "Phänomenologie und Offenbarung bei Jean-Luc Marion." AUC THEOLOGICA 14, no. 1 (2024): 9–29. http://dx.doi.org/10.14712/23363398.2024.4.

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The article explores the relationship between phenomenon and revelation, primarily on the basis of Being Given: Toward a Phenomenology of Givenness by Jean-Luc Marion. The focus is on Marion’s notion of givenness (inspired by Edmund Husserl), on which he bases his new type of phenomenology of givenness. In a critical discussion with Kant, it is shown that the so-called saturated phenomenon is neither constituted as an object nor can it be related back to an ego. The saturated phenomena show themselves of their own motion, they give themselves in their own non-reducibility. They can only be wit

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Triviza, Eleni. "Α Byzantine icon of the Theotokos Hodegetria (Temple Gallery, London)". Zograf, № 47 (2023): 127–38. https://doi.org/10.2298/zog2347127t.

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This icon of the Theotokos Hodegetria is in Hull Collection and comes from the Temple Gallery. The depiction of the Virgin Mary in half-length, turning to the right, with her gaze fixed on the viewer, the manner of the depiction and attitude of Jesus Christ, the rendering of their facial features, the imposingness of the two figures and their movements, the pleats of the clothes and the configuration of the two halos indicate the work of a highly skilled painter. The iconographic and stylistic features of the icon are dated to around 1400.

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ΦΩΣΚΟΛΟΥ, Βασιλική. "Αναζητώντας την εικόνα του Ελκομένου της Μονεμβασίας. Το χαμένο παλλάδιο της πόλης και η επίδρασή του στα υστεροβυζαντινά μνημεία του νότιου ελλαδικού χώρου". BYZANTINA SYMMEIKTA 14 (26 вересня 2008): 229. http://dx.doi.org/10.12681/byzsym.879.

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&nbsp; <p>Vassiliki Foskolou</p><p>Tracing the Monemvasia Icon of Christ Helkomenos. The City's lost Palladium and its Influence on the Late Byzantine Monuments of Southern Greece</p><p>The study's aim is to trace the now lost Monemvasia icon of Christ Helkomenos. Our knowledge of the city's celebrated palladium is confined to fragmentary information deriving from narrative sources. Specifically, we know that it was transferred by Isaac Comnenos to Constantinople in the late 12th century; as for the scene represented on the icon, our sole information comes fro

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Plamen, Sabev. "ЙЕРУСАЛИМИЯ ОТ ЦЪРКВАТА "СВ. ГЕОРГИ" В АРБАНАСИ/ A JERUSALEM ICON FROM THE CHURCH OF ST. GEORGE IN ARBANASY". EPOHI [EPOCHS] Edition of the Department of History of "St. Cyril and St. Methodius" University of Veliko Tarnovo Issue 2, XXIII, 2015 (2022): 419–27. https://doi.org/10.5281/zenodo.6590928.

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In 2011, I came across a Jerusalem type of icon in the chapel of the “St.  Demetrius” church in Arbanasy.  Due to the long-term exposure to humidity and dust, it needed an urgent restoration and conservation. However, in the museum data it was signed that the place of origin of the icon was the church of St. George in Arbanasy. After a research over older photographic documents, I’ve found that the icon was hang on the wall of the nave of this church, and eventually, due to the church’s closure for restoration, it was moved in the chapel of St. Demetrius churc

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Lee, Kyu Young. "Changes in the Concept of Sophia and the Specificity of the Icon of the Virgin Mary." Institute for Russian and Altaic Studies Chungbuk University 26 (February 28, 2023): 265–88. http://dx.doi.org/10.24958/rh.2023.26.265.

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This article analyzes changes in the concept of Sophia and the specificity of the icon of the Virgin Mary. The specific research subject is the Icon of the Virgin Mary, which was a typical religious painting until the Middle Ages. We compare the ideological concept of Sophia and the meaning of the icon of the Virgin Mary. In Chapter 1, We look at the change of the concept and definition of Sofia, and aspects of the acceptance of Sophia in Russia. In the Christian tradition, Sophia has been transformed into the divine administration or the divine wisdom of faith or the wisdom of Jesus Christ's

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9

Ellington, Donna Spivey. "Impassioned Mother or Passive Icon: The Virgin's Role in Late Medieval and Early Modern Passion Sermons*." Renaissance Quarterly 48, no. 2 (1995): 227–61. http://dx.doi.org/10.2307/2863065.

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On 13 April 1403, Parisian chancellor Jean Gerson delivered one of his most famous sermons, a sermon on the Passion of Christ entitled “Ad deum vadit.” That evening, in the second part of the sermon, Gerson set forth the central and most dramatic portion of the Passion narrative, the crucifixion of Jesus. As he had done throughout the story, Gerson sought to recreate the feelings, responses, and very words of Mary as she witnessed her son's suffering. In an anguished question that echoed Jesus’ own, Gerson proclaims that Mary was able to cry to God.

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Sprutta, Justyna. "Misyjny wymiar ikony Zesłanie Ducha Świętego." Annales Missiologici Posnanienses, no. 23 (January 5, 2019): 165–75. http://dx.doi.org/10.14746/amp.2018.23.11.

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The icon of The Descent of the Holy Spirit includes a mission message. The origins of the iconography of this mystery date back to the 6th century. The icon of Pentecost depicts the apostles, and an empty place between them, destined for the coming again of Jesus Christ. Adam was presented below, and then the pagans as representatives of the peoples and nations to whom the apostles are sent. Later in this place is presented Old King as a personifi cation of the Cosmos, that is here a personifi cation of all creatures. The apostles, as the fi rst missionaries, will proclaim the Gospel to this C

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Тихомирова, Елена Леонидовна. "Icon «The Judgment of the Jews over Christ» of the First Half of the XIX Century." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 52–60. http://dx.doi.org/10.31802/bcaa.2020.3.2.004.

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Статья посвящена исследованию иконы «Суд иудеев над Иисусом Христом» из собрания русских икон при поддержке Фонда апостола Андрея Первозванного. Наличие палеосных святых свидетельствует о частном заказе данного образа, хотя крупный размер иконы явно указывает на её бытование в храме. Выбор столь оригинального сюжета, носящего «историко-дидактический» характер, привлек внимание исследователя той нетрадиционностью, которая выбивалась из привычного иконографического репертуара вкладных икон. В статье рассмотрены особенности стилистики и иконографии иконы. Выявлены стилистические аналоги, обоснова

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12

Saenkova, Elena. "A Newfound Icon “Sophia the Wisdom of God with Miracle-Working Icons of the Mother of God” of the Late 17th — Early 18th Century: Aspects of the Iconographic Programme." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015810-0.

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The article discusses the unique theological programme of an icon painted in the town of Vologda at the turn of the 17th to the 18th century. The icon combines the image of Sophia the Wisdom of God with the miraculous icons of the Mother of God: “The Lamenting Virgin”, “Our Lady of Georgia”, “The Virgin Eleousa” and “Our Lady of the Kievan Caves”. The image of Sophia the Wisdom of God has a number of significant differences from the classical iconography that became widespread in the Russian art of the 16th and 17th centuries: there is no image of Jesus Christ and the figure of the fiery-faced

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Puric, Jovan,. "The dialogue of the iconoclasts with the iconophiles." Zograf, no. 34 (2010): 13–26. http://dx.doi.org/10.2298/zog1034013p.

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The study represents an analytical review of iconoclasm, a Christological heresy that appeared in Byzantium and lasted for two centuries. After the first section The possibilities of expressing Jesus Christ and the holy servants of God by means of icons, which describes the historical and theological background of the said problem, explanations are given of the kinds of "icons" and the different dimensions of the notion of an "icon" - the natural and hand-made icon, and subsequently, of the relationship of the image and the original, along with the dogmatic foundation of all hypotheses and cla

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14

Golubeva, Irina. "From Сhrist Pantokrator to Salvator Mundi: the development of the iconography of the savior in Italian panel painting of the 13th — 15th centuries". St. Tikhons' University Review. Series V. Christian Art 51 (29 вересня 2023): 54–67. http://dx.doi.org/10.15382/sturv202351.54-67.

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The iconography of Jesus Christ is one of the most relevant and, at the same time, the most difficult subjects to study. The formation of stable iconographic types of the Savior’s image went through a complicated path, going through various transformations, mainly related to the practical or liturgical function of icons. One of the most popular type, Pantokrator, has been realized in the panel painting of the Italian central region from the earliest times in the copies of the main Roman relic - Acheropita (Greek: Αχειροποίητα, the Image of Christ Not Made by Human Hands), which, as believed, h

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15

Đaković, Dušan. "Contemplation of the Sermons at the Foot of the Mount and Petar II Petrović Njegoš in the Critical Thought of Nicholai Velimirovich." Nicholai Studies International Journal for Research of Theological and Ecclesiastical Contribution of Nicholai Velimirovich III, no. 5 (2023): 153–60. http://dx.doi.org/10.58199/nicholaistudies/ns.2023.3.5.153-160.

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Snežana Adamović’s book is written in simple language, so one can easily understand the complexity of the two icons of the Serbian Orthodox Church and Serbian literature: St. Bishop Nicholai Velimirovich and St. Bishop Peter II Petrović Njegoš. In addition to being composed as a diptych, spontaneously or not, with the icon of Christ the God-Man in the center, a triptych and an intercession (gr. δέησις) arise. With freedom of speech without imposing final answers and definitions, the author’s work is didactic. The goal is to reveal through these icons a Christian method of life in the quest for

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16

서한석. "A Study about ‘Jesus Christ, the Living Icon of God’s Love’ of Maximus The Confessor." Catholic Theology ll, no. 33 (2018): 41–78. http://dx.doi.org/10.36515/ctak..33.201812.41.

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Plamen, Sabev. "THE CYCLE "PASSIONS OF CHRIST" IN TWO REVIVAL ICONS FROM THE VELIKO TARNOVO HISTORICAL MUSEUM." "Logos and Image", "St. St. Cyril and Methodius" University, 2010 2 (December 15, 2010): 72–86. https://doi.org/10.5281/zenodo.4917375.

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The books in the New Testament, testifying of Christ's passions and His tortures on the Cross are fundamental for the Christian doctrine. During the years, considering the importance of this moment in the liturgy, this cycle is very carefully defined in the church visual arts, which is relevant to the variety of traditions 14 the Passion Week in the different church communities. In XIV century, the Passion Week resembles a completed church drama and the developed themes are a sequence of the achievements of the Byzantine theological thought. In XVI—XVII centuries, the West church, pr

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Shashkova, Agneta. "PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 170–79. http://dx.doi.org/10.33838/naoma.28.2019.170-179.

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This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the p

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Fiene, Donald M. "What is the Appearance of Divine Sophia?" Slavic Review 48, no. 3 (1989): 449–76. http://dx.doi.org/10.2307/2498998.

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Since the sixth century, the spiritual center of Eastern Orthodoxy has been Constantinople's Hagia Sophia Cathedral and, since the eleventh century, that of Russian Orthodoxy in two cathedrals dedicated to that same Holy Wisdom. Yet few Orthodox believers would recognize any icon of Sophia.Vladimir Solov'ev, in his poem “Three Meetings” (1898), describes three visions of Sophia—each a somewhat indistinct image of feminine beauty, suffused in a “golden azure” light. Possibly, Solov′ev's perception of Sophia originated in an icon he saw as a child (his first vision having occurred when he was ni

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Денисюк, Татьяна Владимировна. "Eucharistic Themes in Ukrainian Art of the XVII-XVIII centuries: A Review of the Monuments." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 124–41. http://dx.doi.org/10.31802/2658-5111-2019-1-124-139.

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Статья посвящена изучению евхаристической тематики в украинском искусстве XVII-XVIII вв. Впервые сделан обзор памятников украинского изобразительного искусства на тему символико-аллегорического изображения темы Евхаристии. В статье приведены примеры икон и картин из собрания Национального музея в Львове, Музея волынской иконы (г. Луцк, Украина), Национального художественного музея Украины (г. Киев), Национального Киево-Печерского историко-культурного заповедника. Анализ композиций позволил выделить и систематизировать символические сюжеты евхаристического содержания. В статье подробно рассматр

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Stoian, S. P. "UKRAINIAN BAROQUE IN VISUAL ARTS – NATIONAL SYMBOLS IN THE CONTEXT OF EUROPEAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 88–94. http://dx.doi.org/10.17721/ucs.2021.2(9).15.

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The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galy

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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek c

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Ковальчук, І. М. "МУЗЕЙ ВИШИТИХ ІКОН ОТЦЯ ДМИТРА БЛАЖЕЙОВСЬКОГО". Традиції та новації у вищий архітектурно-художній освіті, № 5 (4 січня 2019): 83–88. https://doi.org/10.5281/zenodo.2532034.

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Ukrainian churches are always decorated with embroidery, which was on banners, priest felons, and towels around the icons. During the past decades, Father Doctor Dmytro Blazejowskyj developed and brought the embroidered icon to people. He designed and embroidered more than 350 icons, banners, felons, and showed them on numerous exhibitions both in Ukraine and abroad. The outstanding artist was born on August 21, 1910 in Vyslik Horishnyi, in the Sianik district, Lemkivshchyna (RP). Dmytro Blazejowskyj studied at the Gymnasium in Przemysl in 1922– 1930. He studied Philosophy, Theology and

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Gusakova, Victoria. "“Ideal” and “life path” as concepts of spiritual and moral education of present-day schoolchildren." St. Tikhon's University Review. Series IV. Pedagogy. Psychology 65 (June 30, 2022): 49–62. http://dx.doi.org/10.15382/sturiv202265.49-62.

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In the article «The Religion and philosophical bases of the content the spiritual and moral education of the pupils today» is given the pedagogical substantiation of the expediency of education to the religious and philosophical thought of Russia as to bases for staffing of the content of the spiritual and moral education of contemporary pupils. The relevance of this content consists in the need for comprehension by the schoolboys of anthropological ideal and sense of life of man in the period of pluralism in the choice of values and behavioral stereotypes. Age-related education to the values,

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Havenga, M. "Justice as Beauty-in-Action? Insights from Hans Urs von Balthasar’s Aesthetics and Dramatics." Acta Theologica Supp, no. 29 (2020): 37–49. http://dx.doi.org/10.18820/23099089/actat.sup29.3.

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This essay explores the relation between beauty and justice by turning to the thought of the Swiss Catholic theologian Hans Urs von Balthasar. It begins by giving an exposition of Balthasar’s theological aesthetics, as developed in his work The glory of the Lord, which shows how, for Von Balthasar, earthly beauty participates in, and expresses something of God’s divine glory and reaches its apex in the revelation of the beautiful form of Jesus Christ. This is then followed by an exposition of Von Balthasar’s theological dramatics, as developed in his work Theo-drama, which shows how, for Von B

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STAVROULA, NAKOU, and GANETSOS THEODORE. "ICONS CONSERVATION AND PIGMENTS IDENTIFICATION OF THE SACRED ICONS PAINTER ANTONIOS AGORASTOS." International Journal of Research in Education Humanities and Commerce 05, no. 01 (2024): 291–302. http://dx.doi.org/10.37602/ijrehc.2024.5125.

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The sacred icon painter Antonios Agorastos became known after the recording of his inscribed icons in Skopelos by Pavlos Lazaridis, covering a period of 30 years 1667-1703. The signed icons that we studied in Tyrnavos are the two icons of the Virgin Mary and Christ in the iconostasis of the church of Saint Anargyros on either side of the Beautiful Gate. The aim of the research is the study of the pigments of the hagiographer and the evaluation of other nonsigned icons. In a golden background, the Virgin Mary is depicted enthroned in the form of the Infant. She is depicted sitting frontally hol

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Lapish, Marisa. "The Eucharist as Iconic Experience of Divine Love: Ancient – Future Orienteering with Julian of Norwich." Kenarchy Journal 4 (October 2022): 44–57. http://dx.doi.org/10.62950/vxkla44.

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This paper explores Julian of Norwich’s experience of divine love through her understanding of “poynte,” culminating in her mystical revelation of the blood of Jesus. In the medieval context of plague, war, and hopelessness, Julian experiences the blood of Jesus on the cross present in the Eucharist as a place of safety and joy, something which can speak to the contemporary reader during this time of pandemic, racial strife, and global pessimism. First, the stage is set by historically examining the socio-cultural milieu of fourteenth-century England, mystical spirituality, and sacramental pra

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Terezis, Christos. "The Byzantine icon as an expression of the composition of the “Beautiful” with the “Sublime”." dianoesis 13 (May 18, 2024): 155–70. http://dx.doi.org/10.12681/dia.37788.

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In this article I attempt to discuss the encounter between Christian Theology and the philosophical branch of Aesthetics. As a basis I have the icons of the Byzantine tradition, which also express the ecclesiastical way of its culture. First of all, I refer to what is defined as the aesthetic interpretation of a work of art and then to how its process receives theological characteristics in the style and approach of Byzantine icons. Next, I present the main characteristics of the artistic-aesthetic categories of the “Beautiful” and the “Sublime” and I undertake the responsibility to show how t

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Benyakh, Nataliia. "The work of Mykhailo Boychuk (Lviv period) and the "Studio" collection of the monastery Studitiv in Lviv." Bulletin of Lviv National Academy of Arts, no. 51 (October 10, 2023): 14–22. http://dx.doi.org/10.37131/2524-0943-2023-51-2.

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The activity of M. Boichuk in the period 1910–1912 was analyzed, when the artist executed monumental paintings and easel icon painting works for the monastery Studitiv in Lviv on the street Petra Skargy, 2a (now Ozarkevicha St.). At this time, the artist, together with M. Kasperovych, S. Nalepinska, S. Beaudoin de Courtenay, G. Schramm and others. representatives of his Parisian group, worked on the frescoes of the chapel in the premises of this monastery. The preserved works from the Studio collection include: "St. Nicholas" (1910), "St. Josaphat" (1910), "Jesus Christ" (1910s), "Covering of

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Odrekhivskyi, Roman W. "Byzantine traditions of plastic arts design to preserve the national identity of the Lemko-Rusins in Galicia (the second half of the 19th -the first third of the 20th century)." Rusin, no. 67 (2022): 325–41. http://dx.doi.org/10.17223/18572685/67/18.

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Northern Lemkovyna has been developing traditional plastic arts in the Byzantine style for a very long time. This type of art is one of the talismans that have preserved the national identity of the Lemko-Rusins through the centuries. This paper investigates the specificity of the Byzantine style in the Lemko stonemasonry, which is primarily the drawing of the iconography of memorial forms: the position of the hands and feet of the crucified Jesus Christ as in the Christian tradition of the Eastern rite, a three-armed cross, Cyrillic inscriptions, and so on. This clearly emphasizes the nationa

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HENIN, EMIL, SHAABAN ABDELAAL, NEVEN KAMAL FAHIM, and WADEEA BOUTROS ABED ELMALEK. "Conservation and Preservation of Jesus Christ Icon dating back to 19th Century at Saint Mercurius Monastery at Tamouh, Giza, Egypt." International Journal of Advanced Studies in World Archaeology 5, no. 1 (2022): 128–43. http://dx.doi.org/10.21608/ijaswa.2022.230400.

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LÖBERT, ANJA. "Cliff Richard’s self-presentation as a redeemer." Popular Music 27, no. 1 (2007): 77–97. http://dx.doi.org/10.1017/s0261143008001475.

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AbstractAlthough tremendously popular, Great Britain’s long-term icon Cliff Richard has been widely neglected by popular music studies. This article aims to correct this omission by introducing an argument that claims that Cliff Richard portrays himself to a considerable degree as a saviour figure. Evidence for this thesis will be drawn from three meaningful dimensions in popular music: song lyrics, pictorial self-representations, and image components. These three areas can be shown to be semantically concordant in presenting Cliff Richard as a redeemer. While the promise of redemption by the

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Kolpakova, Yu V. "CROSS WITH ST. SERGIUS OF RADONEZH IMAGE (?) FROM EXCAVATIONS OF 1986 IN PSKOV." Memoirs of NovSU, no. 6 (2023): 671–77. http://dx.doi.org/10.34680/2411-7951.2023.6(51).671-677.

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The article is devoted to the issue of attribution of a double-decorated bone cross from the 1986 excavations in Zapskovye near the Church of the Epiphany in Pskov, which has analogues from excavations on the territory of the Kremlin of Pereslavl-Ryazansky. The iconography of the cross differs from finds from the territory of Pskov and the Pskov land. The iconographic parallels of the find among icon painting, church sewing, and Christian applied art are considered. Versions of the attribution of images are being put forward: on the front side — to Jesus Christ or Sergius of Radonezh, on the b

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Zhurova, Lyudmila I. "The history of Maximus the Greek’s epistles against Luther (in defense of icon worship)." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 56–68. http://dx.doi.org/10.17223/18137083/77/5.

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The Russian scholarly tradition describes the religious struggle against Lutherans, starting with the works by Maximus the Greek. A. I. Ivanov’s guidebook includes six words related to the publicist’s anti-Protestant polemic. Although, the Epistle against Heretics on Worship of Holy Icons is a special variant of Epistle 6 by Iosif Volotsky the Apostle and does not belong to Maximus the Greek. Another work, The Epistle against Lutherans is the treatise by Starets Artemius. Maximus the Greek is the author of the Epistle against Luther on Worship of Holy Icons. It exists as an intravitam manuscri

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ვაშალომიძე, გიორგი. "ნათლისღების იკონოგრაფია და მისი საღვთისმეტყველო – სახისმეტყველებითი ასპექტები". სჯანი 25 (18 жовтня 2024): 117–37. http://dx.doi.org/10.62119/sjn.25.2024.8109.

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The topic we present in this article is the iconography of the Baptism and its theological and typological aspects. It suggests discussion of the iconographic representation of this event. As is known, iconography is one of the most important means of communicating with God. According to the teachings of the Church, the basis of the veneration of icons is the Incarnation of the Second Person (Hypostasis) of the Holy Trinity. As a result of the Incarnation of God the Son, the invisible God became visible, the basis of which is the Incarnation of God. Iconography found its origin in the early Ch

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Tomovic, Gordana. "Who was despot Tornik in the graphite of the scribe Nestor." Zbornik radova Vizantoloskog instituta, no. 41 (2004): 257–69. http://dx.doi.org/10.2298/zrvi0441257t.

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In the church of Saint George in the village Gornji Kozjak near Stip on the fresco-icon of Jesus Christ Antiphonetes (the Guarantor) on the south face of the northwest pier there was found the graphite inscription made by the scribe Nestor in the time of despot Tornik. The analysis and the quality of fresco painting as well as the morphology of letters indicate the period between the last decades of XIII and the very beginning of the XIV century. These enable the identification of despot Tornik with the famous apostate from Byzantium Kotanitzes Tornikios who twice run over to Serbian territory

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Kettle, David. "Engaging with Tragic Spirituality and Victim Sensibility: On the Cultural Setting of Mission in the West Today." Mission Studies 21, no. 2 (2004): 287–312. http://dx.doi.org/10.1163/1573383042653659.

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AbstractResearchers into contemporary spirituality in Britain raise the question of a possible return of the classical tragic sense of life once displaced by Christianity. Such a sense of life renders faith incredible. This profound mission challenge shows itself especially in "tragic spirituality" and in an exalted "victim sensibility." The intrinsic relation between tragedy and victimhood is here explored. Since the experience of tragic victimhood is personally demanding it is characteristically evaded, in one of two basic ways: either by adopting a dismissive attitude, or by giving in to be

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Burkovska, Liubov. "Synthesis of Word and Image in the Religious Art." Folk art and ethnology, no. 3 (September 30, 2022): 70–77. http://dx.doi.org/10.15407/nte2022.03.070.

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The problems of synthesis of religious art and literature in medieval culture are considered in the article. The nature of interactions of the artistic material and its text basis is investigated. Historical lore and the descriptions of the eyewitnesses of the Jesus Christ, the Mother of God, Apostles have been of a great significance at the early stages of icon painting images development. The period of iconography formation on the base of the evidences, memories and sacred texts has lasted till the 8th century. Gradually the icon is transformed into a peculiar sacred matrix, independent cult

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Богомолець, Ольга Вадимівна. "ІКОНИ САВАОФА: ВИТОКИ ТА ЗМІСТ ІКОНОПИСНОГО ОБРАЗУ". Філософські обрії, № 37 (14 червня 2017): 168–80. https://doi.org/10.5281/zenodo.808817.

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Revival of symbolic row of Ukrainian culture, which is in tandem with the recovery of material and spiritual heritage of the Ukrainian people, actualizes researchers` appeals to study Ukrainian iconography. After all, despite the fact that a number of iconographic scenes were deemed non-canonical by the Orthodox Church, they received highest consideration among the common people. The leaders among these icons are iconic images of Savaof, Coronation of the Virgin, Bogorodica Trojeručica and so on. On each of the given icons, there is always the image of God the Father, which according to canoni

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Олена, Бакович. "Сюжет «Явління Христа св. Петрові Александрійському» у іконостасах середини XVIII – початку ХІХ ст. церков Східного Опілля: іконографічні та мистецькі особливості". ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 88–101. https://doi.org/10.5281/zenodo.1313092.

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In recent years, there has been an increasing interest in the iconostasis, as an art phenomenon. This problem is discussed in several studies though too little attention is paid to the study of individual theme compositions. One of them is «The Appearance of Christ to St. Peter of Alexandria».Objectives. The objectives of this study are to determine the iconographic and artistic peculiarities of the theme «The Appearance of Christ to St. Peter of Alexandria» in iconostases of the middle of the 18th - first half of the 19th century of churches of the Eastern Opillia. Met

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Plamen, Sabev. "ICONPAINTING WORKSHOP IN ARBANASSI FROM THE FIRST HALF OF THE 18th C." Proceedings Regional Museum of History - Veliko Tarnovo 35 (December 12, 2020): 163–85. https://doi.org/10.5281/zenodo.4916083.

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The research data collected over the years shows that there was a workshop in Arbanassi, which played a significant role in the decoration of churches and monasteries. The works from this workshop are easy recognize by the specific mannerism, the calligraphy of the inscriptions, the structure and details of the compositions. Furthermore, the representatives of this workshop apply the same type of technical methods in their works for the church. Artists from this workshop made mostly icons (painted and probably carved on wood) as early as the late 17th century and early decades of the 18th cent

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Макаров, Д. И. "Averintsev and the Paschal Joy. On the Perception of Byzantine Christianity in Some Later Works of the Thinker." Русско-Византийский вестник, no. 2(17) (May 2, 2024): 36–45. http://dx.doi.org/10.47132/2588-0276_2024_2_36.

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В поздних статьях, выходивших на русском и английском языках, а также в монографии о Вяч. Иванове С. С. Аверинцев выделяет некоторые системообразующие черты византийского Православия — такие, как онтологизм, пасхальная радость, литургическое переживание радости и умиления, вызванное молитвенным переживанием Богородичного общения, центральное значение иконы, передающей человеческий Лик Господа Иисуса Христа. Также разбирается такой вводимый мыслителем в 90‑е гг. концепт, как «христианская геополитика»; подобные мысли восходят к традиции византийской и европейской консервативной философии (Томас

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Plamen, Sabev, and Goranchev Veselin. "UNKNOWN DEESIS MURAL PAINTING FROM ST. DIMITAR CHURCH IN ARBANASSI." Proceedings of Regional Museum of History - Veliko Tarnovo, 2019 Volume 34 (November 12, 2019): 225–42. https://doi.org/10.5281/zenodo.4917476.

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In 2012, in the Regional Museum of History – Veliko Tarnovo, a Deesis mural painting was found, which was on one of the walls in St. George’s Chapel in St. Dimitar’s Church in the village of Arbanassi. This image, along with part of the plaster base, was removed from a masonry wall to protect the painting from the moisture in the natural environment. Only small fragments with the images of St. John the Baptist and of the Blessed Virgin have survived. In fact, the frescoes in St. George’s Chapel are still in a very problematic condition to be analysed. They have, indeed,

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Plamen, Sabev Vesselin Goranchev. "НЕИЗВЕСТЕН СТЕНОПИС "ДЕЙСИС" ОТ ЦЪРКВАТА "СВ. ДИМИТЪР" В АРБАНАСИ / UNKNOWN DEESIS MURAL PAINTING FROM ST. DIMITAR CHURCH IN ARBANASSI". ИЗВЕСТИЯ на Регионален исторически музей - Велико Търново/ Proceedings of Regional Museum of History - Veliko Tarnovo XXXIV/2019, ISSN 1313-6690 (2022): 225–39. https://doi.org/10.5281/zenodo.6509918.

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In 2012, in the Regional Museum of History Veliko Tarnovo, a Deesis mural painting was found, which was on one of the walls in St. George's Chapel in St. Dimitar's Church in the village of Arbanassi. This image, along with part of the plaster base, was removed from a masonry wall to protect the painting from the moisture in the natural environment. Only small fragments with the images of St. John the Baptist and of the Blessed Virgin have survived. In fact, the frescoes in St. George's Chapel are still in a very problematic condition to be analyse

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Odrekhivskyi, Roman. "Artistic Features of the Hutsul Region Memorials (The Second Half of the 19th and the First Third of the 20th Centuries)." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 18–26. https://doi.org/10.31866/2410-1176.44.2021.235287.

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The purpose of the article is to identify the artistic features of the Hutsul region memorials over the heyday of stonecraft and woodcraft of the second half of the 19th and the first third of the 20th centuries. The research methodology is the general scientific principles of historicism and a systematic approach. There are research methods. The source criticism is to analyse the thematic and ideological features of the memorials. The author used a complex method to define the artistic features of the memorials. The method of analysis was used to study the proportional features of the compone

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В. П., Ващаев. "К вопросу о католическом богословии иконы: динамика в осмыслении значения сакрального искусства". Труды кафедры богословия Санкт-Петербургской Духовной Академии, № 3(23) (1 вересня 2024): 21–33. http://dx.doi.org/10.47132/2541-9587_2024_3_21.

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В статье ставится вопрос: каким образом в современном католическом богословии выстраивается понимание и определение роли иконографии? Представленная формулировка отражает дискуссию о том, что отношение к иконографии в восточном и западном богословии на протяжении христианской истории обуславливалось разными культурными и догматическими предпосылками. В современном католическом богословии икона занимает важное, но не центральное место. Такое положение связано с историко-культурным контекстом и было закреплено постановлениями II Ватиканского Собора (1962–1965). Тем не менее в современном католич

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Михайло, Приймич. "Творчість Михайла Манковича як відображення нових мистецьких устремлінь на Закарпатті початку ХІХ ст." ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 22–38. https://doi.org/10.5281/zenodo.1313074.

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Many questions in the research of the Transcarpathia pictorial art remain not taken up and one of them is the uprise of the artists with academic education. In this work we present known and new facts of the life and work of Mykhailo Mankovych (1785–1853) – one of the first Transcarpathian artists who graduated from Vienna Academy of Arts. Among the researches that have promoted the artist's name we can mention those of S. Pap, O. Izvorin and H. Ostrovskyi. They hsve touched upon the artist's work analyzing the development of art in the region. Among recent researches it is

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Cortina Riu, Carlos. "La Patum, un credo de ceremonial y de fuego / La Patum, a creed of ceremonial and fire." REVISTA ESTUDIOS INSTITUCIONALES 4, no. 6 (2017): 79. http://dx.doi.org/10.5944/eeii.vol.4.n.6.2017.18870.

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La obra maestra de la ciudad de Berga se inspira en sus orígenes; acata el Corpus Christi, se emancipa y se desacraliza de la procesión; conquista la Plaça de Sant Pere; y se convierte en una expresión universal.Este acto sacramental se crea como necesidad del pueblo, como expresión de su factor humano, como testimonio de liturgia sagrada, como ejemplo de protocolo laico, como arquetipo de rito intemporal y como expresión de libertad.La Patum se manifiesta a través de la forma de sus imágenes, del gesto de sus comparsas, del mensajes de sus colores, de la melodía de sus músicas, del ritmo atáv

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Clark, Tyler. "Jesus Christ." Dialogue: A Journal of Mormon Thought 52, no. 3 (2019): 109. http://dx.doi.org/10.5406/dialjmormthou.52.3.0109.

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Steffen, Jason R. "Jesus Christ, Esq." Dialogue: A Journal of Mormon Thought 54, no. 2 (2021): 175–82. http://dx.doi.org/10.5406/dialjmormthou.54.2.0175.

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