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Статті в журналах з теми "Jesus Christ Art"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 1 серпня 2024

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1

Pozdnyakova, D. Y. "Coptic Christian Symbolism in Art as a Problem of Cultural Studies." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 241–42. http://dx.doi.org/10.24833/2071-8160-2013-3-30-241-242.

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In dialogue Coptic and Russian religious culture reveals value of the symbol letter Iota, the tenth letter of the Coptic alphabet, which begins the name of Jesus Christ. Symbols of letter writing is compared with pronouncing the name of Jesus and reading the prayer of Jesus

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2

Badriah Mohamed Abdullah Alfozan, Badriah Mohamed Abdullah Alfozan. "Monotheism among the Christians its concept and Creed implications(Critical Study)." journal of king abdulaziz university arts and humanities 26, no. 3 (March 3, 2018): 47–75. http://dx.doi.org/10.4197/art.26-3.3.

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Jesus was mentioned in the Holy Quran as considering God as one, God as his Lord and ordered to worship God only. However, some Christians who believed in Jesus Christ as Prophet and denied him as being Son of God or one of the Three Gods; an evidence of the depravity of the Creed of most Christians and its perversity of Jesus Message, and a reply to the followers of the three large parties (Royalism, Nestorianism and Jacobitism) in Triangulation, and the study of the Christians attitude on Monotheism throughout ages and their switch to Triangulation and notification of the invalidation of the

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3

Wibowo, Wahju Satria. "Yesus Sejarah atau Kristus Iman?: Historisitas Iman dan Karya Allah dalam Yesus Kristus." GEMA TEOLOGIKA: Jurnal Teologi Kontekstual dan Filsafat Keilahian 6, no. 1 (April 30, 2021): 51. http://dx.doi.org/10.21460/gema.2021.61.631.

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Abstract There has always been a tension between Jesus of History and Christ of Faith. The figure of Jesus and the faith in Him as Christ are historical. History is a space to bring together both. Without Jesus of History, Christian faith is empty. Similarly, without the faith of the first Christian community, the figure of Jesus is nothing. The historicity of Jesus stands along with the historicity of faith in Him. Of course, above all is God’s work in history. On the one hand, using the research and discussion of the historical Jesus, this article shows that archaeological findings should in

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4

Sherlin Johnson and S. Prabahar. "Transmedial Analysis of the Passion Narrative in the Scripture and the Movie the Passion of the Christ." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 376–79. http://dx.doi.org/10.34293/rtdh.v12is1-dec.123.

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Transmedia storytelling is the art of narrating stories using various media, with each medium adding something distinct to the narrative universe. This narrative universe may be accomplished with any media, including radio, TV, movies, video games, internet video, and web applications. The paper aims to demonstrate how different media platforms may convey one or more events over various channels to create a coherent whole. The article aims to comprehend the intricacies of translating written information into a visual medium using a cinematic approach. This study examines a trans-medial examina

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5

Bussieres, Marie-Pierre. "A Twenty-First-Century Gospel: Jesus at the Vatican in Paolo Sorrentino’s The Young Pope." Journal of Religion and Popular Culture 32, no. 3 (January 1, 2021): 204–18. http://dx.doi.org/10.3138/jrpc.2018-0005.

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Paolo Sorrentino called his series The Young Pope “a thriller of the soul.” In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that c

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6

Dillon, Amanda. "“I Am the Nail”: A Multimodal Analysis of a Contemporary Reception of Isaiah 53." Religions 14, no. 3 (March 10, 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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7

Albright, Thomas D. "The Veiled Christ of Cappella Sansevero: On Art, Vision and Reality." Leonardo 46, no. 1 (February 2013): 19–23. http://dx.doi.org/10.1162/leon_a_00479.

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A celebrated marble sculpture of the body of Jesus, known as Cristo Velato (Veiled Christ), by the 18th-century Neapolitan artist Giuseppe Sanmartino offers a dramatic demonstration of art as all-encompassing illusion. As such, Sanmartino's masterpiece provides a rare opportunity to deconstruct a multifaceted and richly deceptive perceptual experience into a collection of simple sensory elements. This analysis both yields insights into the visual tools of the artist and reveals how an empirical understanding of sensory processes can illuminate complex perceptual experiences.

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8

Citlak, Amadeusz. "Psychobiography of Jesus Christ in view of Władysław Witwicki’s theory of cratism." Journal for Perspectives of Economic Political and Social Integration 21, no. 1-2 (December 1, 2015): 155–84. http://dx.doi.org/10.2478/pepsi-2015-0007.

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Abstract The article is an attempt at a critical evaluation of applying one of the most original theories of Polish psychology, i.e. W. Witwicki’s theory of cratism, to the interpretation of the activities and personality of Jesus Christ. The theory of cratism, though it provides substantial explanation possibilities, has been largely forgotten. W. Witwicki used it to try to interpret many aspects of human activity such as art, social relations, as well as the life of ancient figures, among others, Socrates and Jesus Christ. Thanks to this, he created the first ever in Polish psychology (and a

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9

ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 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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10

Gamba, Ezio. "Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik." Zeitschrift für Religions- und Geistesgeschichte 62, no. 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.

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AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?

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11

Buettner, Jamie. "Embracing Jesus: Mystical Union with Christ in Seventeenth-century Art and Imagination." International Journal of Religion and Spirituality in Society 3, no. 4 (2014): 13–27. http://dx.doi.org/10.18848/2154-8633/cgp/v03i04/51070.

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12

Vogt, Peter. ""Honor to the Side": The Adoration of the Side Wound of Jesus in Eighteenth-Century Mordvian Piety." Journal of Moravian History 7, no. 1 (2009): 83–106. http://dx.doi.org/10.2307/41179862.

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Abstract The wounded side of Jesus Christ played an important role in the theology and devotional life of the eighteenth-century Moravian community. The adoration of the side wound manifested itself in various ways, ranging from hymnody and preaching to graphic art and ceremonial installations. In the context of a theology of the atonement, the wounded side of Christ signified a place of refuge, an opening out of which the church was "born," and an eschatological token by which Christ will be recognized at the time of his second coming. The Moravians expressed these ideas in a peculiar languag

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13

Atwood, Craig D. "Little Side Holes: Moravian Devotional Cards of the Mid-Eighteenth Century." Journal of Moravian History 6, no. 1 (2009): 61–75. http://dx.doi.org/10.2307/41179848.

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Abstract One of the more intriguing types of eighteenth-century Moravian art were small devotional cards. These side-hole cards (Seitenhöhlchenkarten) offer a distinctly Moravian reworking of a medieval iconographic tradition. Most of these cards have verses about the side wound of Jesus written in beautiful calligraphy, sometimes in red and green ink. The most intriguing cards have images of the side wound, sometimes with scenes painted into the wound. Aaron Fogleman offered these pictures as evidence for his thesis that the Moravians viewed Jesus as female and considers them as part of their

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14

Lurie, Zinaida. "Christ as Teacher in classical European iconography." Hypothekai 8 (May 2024): 89–109. http://dx.doi.org/10.32880/2587-7127-2024-8-8-89-109.

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The article examines the visual embodiment of the theme of Christ's teaching in the European visual tradition. The author shows that the pedagogical metaphors of the Teacher and the Educator, vivid in the New Testament texts and the works of the first Christian writers, were reflected in the fine arts through certain iconographic formulas. An assumption is made about the possibility of a pedagogical interpretation of the symbolic image of the Good Shepherd (basing on Clement of Alexandria). Variations in the image of the Teacher in the works of the 4-5th centuries are also analyzed: these are

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15

Gooding-Williams, Robert. "Beauty as Propaganda." Philosophical Topics 49, no. 1 (2021): 13–33. http://dx.doi.org/10.5840/philtopics20214912.

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This paper considers W.E.B. Du Bois’s short story, “Jesus Christ in Texas,” in the perspective of his analysis of the concept of beauty in Darkwater (1920); his exposition of the idea that “all art is propaganda” in “Criteria of Negro Art” (1926); and his moral psychology of white supremacy. On my account, Du Bois holds that beautiful art can help to undermine white supremacy by using representations of moral goodness to expand the white supremacist’s ethical horizons. To defend this thesis, he relies on an image of “the cross and the lynching tree” to revise imagery that he draws from Albrech

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16

Wicaksono, Singgih Prio, and Anik Juwariyah. "The Visual Language of Consumerism in Contemporary Artworks." Journal of Urban Society's Arts 6, no. 1 (May 1, 2019): 56–62. http://dx.doi.org/10.24821/jousa.v6i1.2263.

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Bahasa Visual Konsumerisme dalam Karya Seni Kontemporer. Artikel ini mendeskripsikan wacana konsumerisme ketika dibahasakan secara visual dalam karya kontemporer. Penelitian ini bertujuan untuk mengetahui pendekatan visualnya, gaya ungkapannya, serta social effect dari karya-karya tersebut. Penelitian ini menggunakan pendekatan deskriptif dengan obyek kajian empat karya kontemporer dunia yang sangat terkenal, “Campbell’s Soup Cans” karya Andi warhol, “Jesus Christ with Shopping Bags” kaya Banksy, “I Shop Therefore I Am” karya Barbara Kruger, “Super Supper” karya Ron English. Berdasarkan analis

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17

Vardanyan, Satenik. "The Image of Jesus Christ in the 20th Century and Contemporary Art of Armenia." IKON 8 (June 2015): 137–44. http://dx.doi.org/10.1484/j.ikon.5.107799.

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18

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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19

Knust, Jennifer, and Tommy Wasserman. "Earth Accuses Earth: Tracing What Jesus Wrote on the Ground." Harvard Theological Review 103, no. 4 (October 2010): 407–46. http://dx.doi.org/10.1017/s0017816010000799.

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The story of the woman taken in adultery (John 7:53–8:11) has a long, complex history. Well-known in the Latin West, the story was neglected but not forgotten in the East. Incorporated within Late Antique and Early Medieval Gospel manuscripts, depicted in Christian art, East and West, and included within the developing liturgies of Rome and Constantinople, the passage has fascinated interpreters for centuries despite irregularities in its transmission.1 Throughout this long history, one narrative detail has been of particular interest: the content and significance of Jesus— writing. Discussed

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20

Elliott, Scott S. "Jesus in the Gutter." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 2 (August 20, 2014): 123–48. http://dx.doi.org/10.1558/post.v7i2.123.

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Graphic novels and comics have long provided a venue for visually portraying biblical narratives. While some provide a clever hook for devotees to capture the imagination in order to safely entertain the existing flock or to entice would-be converts into the fold, others are not concerned primarily with any “faithful” visual rendering of biblical narrative. These productions interrogate and/or appropriate biblical narrative in a variety of ways while maintaining a high degree of fidelity to the requirements of the art form and to the expectations of its readers. This article investigates two w

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21

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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22

Walsh, Richard. "The Gospel According to Judas: Myth and Parable." Biblical Interpretation 14, no. 1-2 (2006): 37–53. http://dx.doi.org/10.1163/156851506776145832.

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AbstractJesus films improve the Judas story by adding plot connections and amplifying Judas' character, but their Judases reprise "the Gospel according to _" pattern. Like Jewison's Judas, they all are part of the adoring Christian chorus. Films' selective uses of the gospel Judas incidents intensify the gospel exclusions. Judas remains the traitorous disciple who deserves his fate. Films' visuals continue the iconography of art and create interlocking scenes associating Judas with Jesus' opponents. While some films motivate Judas traditionally, others modernize Judas' motivation in order to c

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23

Lee, Peggy Kyoungwon. "The Alpha Orient." TDR: The Drama Review 66, no. 2 (June 2022): 45–59. http://dx.doi.org/10.1017/s1054204322000090.

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The alpha brain wave sonification inaugurated by Alvin Lucier in Music for Solo Performer (1965) ushered in biofeedback as a new possibility for art and a racialized fantasy of the “Orient.” The “Alpha Orient” encompasses sonic methods equating alpha brain waves with the supposed exceptional “composure” and “silence” of the East. Eunoia (2013-2014) by Lisa Park and Yoko Ono’s 1964 Cut Piece and 1965 Sky Piece for Jesus Christ expose the Alpha Orient as an ableist fantasy of the Asian woman in the remarkable soundness of her self-control.

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24

Posset, Franz. "Martin Luther on Deësis: His Rejection of the Artistic Representation of "Jesus, John, and Mary"." Renaissance and Reformation 32, no. 3 (January 22, 2009): 57–76. http://dx.doi.org/10.33137/rr.v32i3.11576.

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At times, Reformation scholars and art historians are confused about Luther's attitude toward the visual arts which depict saints as intermediaries between God and humanity. Rarely do they thematize the issue in relation to the deësis, i.e. Christ enthroned, with Mary and John the Baptist as intercessors. After a review of the wide-spread motif of the deësis, light is being shed on Luther's statements of the 1530s which reflect his rejection of the motif.

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25

sadek, sherin. "DIFFERENT ATTITUDES OF JESUS CHRIST IN COPTIC ART الأوضاع المختلفة للسید المسیح فى الفن القبطى". Conference Book of the General Union of Arab Archeologists 16, № 16 (1 листопада 2013): 209–46. http://dx.doi.org/10.21608/cguaa.2013.32586.

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26

Павлова, Анна Леонидовна. "Composition «The trial of Jesus Christ» as a Part of St. Nicholas Church Mural Paintings in Boboli Village." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 37–51. http://dx.doi.org/10.31802/bcaa.2020.3.2.003.

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В статье впервые в научный оборот вводится новый памятник монументального искусства последней четверти XIX столетия в Калужской области - масляные росписи Никольской церкви с. Боболи. Среди сюжетов стенописи выделяется необычная композиция - «Суд над Христом», принадлежащая редкой иконографической традиции. Рассмотрение отдельно взятого сюжета в контексте программы росписей помогает внимательно изучить феномен сельского искусства того времени. В нём отразились различные религиозные и культурные интересы экономически развитого крупного села, получили развитие стилистические предпочтения эпохи э

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27

Мироненко, Д. Г. "What Old Testament Events Can the Iconography of Baptism in Ancient Monuments of Art Tell About?" Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 35–47. http://dx.doi.org/10.62625/2782-1889.2024.68.68.003.

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Статья посвящена малопонятному для большинства современных зрителей композиционному элементу древних изображений Крещения Господнего. Колонна, увенчанная крестом, у ног Иисуса Христа в водах реки Иордан, вероятно с позиции древних художников-богословов имеет совершенно конкретное указание на Ветхозаветную историю народа иудейского. The article is devoted to the compositional element of the ancient images of the Baptism of the Lord, which is incomprehensible to most modern viewers. The column crowned with a cross at the feet of Jesus Christ in the waters of the Jordan River, probably from the p

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Čulina, Tatjana. "Five Depictions of the Circumcision of Jesus Christ from the Croatian Sacral Heritage." Acta medico-historica Adriatica 19, no. 1 (2021): 19–32. http://dx.doi.org/10.31952/amha.19.1.1.

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Male circumcision has been perceived differently in different cultures. In modern times, if it is a non-medical indication, circumcision becomes the starting point of many ethical and other discussions. Its rootedness in Christianity is fixed, among other things, in sacral art and iconography. This article presents five sacral images of the Circumcision of Christ from the holdings of the Croatian sacral heritage with the aim of noticing their iconographic and sacral-medical values. In this article, it is presented the results of field research related to the identification and medical-iconogra

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29

Szymik, Jerzy. "Chrystocentryzm. Dialog Kościoła i świata." Verbum Vitae 6 (December 14, 2004): 227–39. http://dx.doi.org/10.31743/vv.1374.

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The most profound Catholic – (from kat’holon „concerning the whole”) – understanding of Christocentrism is not (and cannot be) an impediment to the Church’s dialogue with the world, faith and culture, theology and art. It is not a problem in interreligious dialogue either. If there are barriers, this means that we are just starting on our way, that all sides undertaking dialogue need to be cleansed. Jesus Christ is on everyone’s side, he is not against anyone. The fact that God has loved man so much that He became a man is the most fundamental basis for the framework of understanding and unity

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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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Maksimovic, Jovan, and Marko Maksimovic. "Key moments of terrestrial life of the main biblical characters in sacral iconography of Vojvodina." Archive of Oncology 18, no. 4 (2010): 103–10. http://dx.doi.org/10.2298/aoo1004103m.

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Анотація:

Beside the motif of death, the motifs connected to pregnancy, delivery and childhood are the most often motifs depicted in Christian iconography in general. They indicate the importance of terrestrial life and living among people of the main Biblical characters: Jesus Christ, the Mother of God and St. John the Baptist. Presenting the key moments of any human life, starting from conception, pregnancy and delivery, maternity and childhood, all the way to death, these iconographic themes try to stress out the double nature of given characters, both divine and humane. The first iconographic presen

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Morrison, James L. "The Power of Participating Partnership with Profound Perception: A Practical Approach to Decision Making and Problem Solving." Religions 15, no. 1 (January 9, 2024): 80. http://dx.doi.org/10.3390/rel15010080.

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In a fractured, complex, and chaotic world, excellence in critical, caring, and creative thinking skills are crucial to effective Christian living. The author’s research, a qualitative inquiry and interdisciplinary literature review and analysis, suggests that one’s theological perspective and belief system concerning the gifts and power of the Holy Spirit may profoundly affect the ability of the individual and the body of Christ to rationally pursue Kingdom work, whether through evangelism, discipleship, or merely survival. Christians, regardless of theology, philosophy, worship styles, polit

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Duţică, Gheorghe. "Voices of Edification Calls for Salvation – an Oratorio (Pilgrims to Saint Parascheva) by Viorel Munteanu." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 97–132. http://dx.doi.org/10.2478/ajm-2021-0005.

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Abstract After the glorious reception of Voices of Putna – a key contribution to the genre – Viorel Munteanu makes now a new “offering of sound and letter”, a “different” sort of eulogy for the Orthodox Byzantine monody, meaning to encourage us to embark on the difficult journey of salvation together with the endless train of “pilgrims to Saint Parascheva”. It is, thus, a daring compositional effort that will be spiritually experienced by both its creator and its public, from the first contact with the graceful resonance of the title to the last shimmer of sound at the end of the final scene.

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Graham, Gordon. "Book Review: Jesus Incognito: The Hidden Christ in Western Art since 1960, written by Martien E. Brinkman." Journal of Reformed Theology 9, no. 2 (2015): 232–33. http://dx.doi.org/10.1163/15697312-00902012.

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MĂNĂILESCU, Sorana. "The Bible and Musical Postmodernism." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 117–26. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.11.

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The paper examines formal changes of traditional church music in postmodernism: the choice of brief passages in the Bible characterised by soul searching (Jesus musing on his destiny, experiencing confusion about his purpose and mission), heroic acts (Esther and Judith saving the Jewish people), self-sacrifice and moral fables rather than key chapters of dogmatic stringency. Characteristic of postmodernist aesthetics are the combination of high and low art, fragmentation, and hybridity. Music rooted in the Bible draws on heterogeneous sources, such as medieval religious mysteries (the Wakefiel

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Nyaribo, Omwocha. "COVID, Crisis, Conflict, and the Cross: Making Disciples during a Pandemic." Journal of Adventist Youth and Young Adult Ministries 1, no. 1 (2023): 59–62. http://dx.doi.org/10.32597/jayyam/vol1/iss1/11/.

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Intimate desires characterize one’s last moments with family, friends, or colleagues, often expressed verbally to the hearers. John 17 is one such moment. Jesus passionately, through prayers, shared the desire that His followers be united, for unity in Christ is the essence of soul-winning— the world believing in Jesus (Jn 17:21,23). The disciples of Jesus also contended among themselves concerning greatness. In the history of the Christian Church, unity among the brethren has been elusive. Within the Seventh-day Adventist church, we have witnessed strife among the brethren because of divergen

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Tabor, Dariusz. "Gesture as the Expresion of the Pascal Mystery in the Central European Medieval Art." Folia Historica Cracoviensia 14 (February 23, 2024): 119–34. http://dx.doi.org/10.15633/fhc.1457.

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The Paschal Mystery is the central reality of the Christianity. This is a series of historical events, presented in the canonical Gospels, in which Jesus from Nazaret was submit to the suffering, death, but was revived and bas ascend 10 the glory. These events was Ml of meanings and significations. This significations of paschal event has been meditated and analyzed in the Christian text, - in Gospels, in Paul’s Letters, but in the sermon of Fathers of the Church. Meliton of Sardes, Orygenes, Pseudo-Hypolite, and others are known as the interpreters of paschal events. The liturgical texts - Ex

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CIOFU, Gabriel V. "THE ANCIENT OF DAYS – ICONIC CIRCUMSCRIPTION OF THE FATHER OR THE SON?" Icoana Credintei 10, no. 19 (January 24, 2024): 58–68. http://dx.doi.org/10.26520/icoana.2024.19.10.58-68.

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Who is the Ancient of Days? Most of the Eastern Church Fathers who comment on the passage in Daniel (7.9-14) interpreted (in the light of Revelation 1.10-18) the elderly figure as a prophetic revelation of the Son before His physical incarnation. In Orthodox Christian hymns and iconography, the Ancient of Days is sometimes identified with God the Father, but most properly, in accordance with Orthodox theology, He is identified with God the Son – Jesus Christ. Under Romeʼs scholastic influence, it has historically been used to theologically justify images of God the Father, alone or in various

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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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Lipovetsky, Mark. "A Trickster in Drag: Vlad Mamyshev-Monroe’s Aesthetic of Camp." Arts 11, no. 5 (September 13, 2022): 87. http://dx.doi.org/10.3390/arts11050087.

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The article discusses an artistic method of the post-Soviet artist Vlad Mamyshev-Monroe (1969–2013) as the nexus of several traditions embedded in modernist legacy. His main genre is remastered (scratched) photographs depicting him impersonating various historical and fictional characters, from Marylyn Monroe (whom he considered his alter ego) to Hitler, Jesus Christ, and Putin. His art and artistically designed image creatively develop the tradition of modernist life-creation (zhiznetvorchestvo), which he enriches by camp, thus becoming a pioneer of this elusive sensibility in post-Soviet cul

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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.

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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from t

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Jose, Chiramel Paul. "Blake’s Songs, Their Introductions and the Bible." English Language and Literature Studies 7, no. 2 (May 30, 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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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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Palmieri, David. ""The Sea We Must Wade": Exploring the Need for Catholic Ministry to Families with LGBTQ+ Children." International Journal of Evangelization and Catechetics 4, no. 1 (2023): 63–84. http://dx.doi.org/10.1353/jec.2023.a912021.

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Abstract: This paper explores the need for more effective ministry to Catholic families with LGBTQ+ children. The research presents an extensive list of internal and external challenges faced by both LGBTQ+ adolescents and their parents. One of the outward obstacles is an ongoing disagreement within the Church over the use of words like "same-sex attraction" and "disorder," so this paper proposes considerations to transcend the conflict. Finally, this paper argues that we must embrace the methodology of Jesus Christ (encounter, accompany, build community, send forth) to promote the "art of sto

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Rodriguez, Milagros Elena. "PRIVILEGE OF KNOWING GOD: RE-LINKS IN TIMES OF CRISIS." Isagoge - Journal of Humanities and Social Sciences 2, no. 8 (August 28, 2022): 90–110. http://dx.doi.org/10.59079/isagoge.v2i8.135.

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Investigating from God, for God and about God is an immense commitment, in which I go in the first person, with my sentiments and a transmethodical investigation with the transmethod of comprehensive, ecosophical and diatopic hermeneutics; going through the analytical, empirical and purposeful moments. It is a responsibility, as long as the insult to the name of God, the separation of the human being, the abuse in colonial solsyadoras religions has compromised the complex understanding of the human being: nature-body-mind-soul-spirit-God. Thus, we return with ecosophia, the wisdom in the art o

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Mascarenhas, Arun, and Suvidha P. . "Catholic Art: Mangaluru, a Case Study (1878-2023)." International Journal of Arts Architecture & Design 2, no. 2 (July 26, 2024): 14–48. http://dx.doi.org/10.62030/2024julypaper2.

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‘Catholic Art’ is art produced for catholic patrons, which includes iconographic works in visual arts, sculptures, architecture, and decorative and applied arts. Jesus Christ, his disciples, followers, saints, and biblical narratives have been the subject matter of Catholic art. There is an ecumenical relationship between Christian theology and Catholic Art. However, not all Christians are Catholics, but all Catholics are Christians. The Mangaluru case study centers on the prominent Italian Artist Priest, Fra. Antonio Moscheni SJ (1854-1905). He was entrusted to embellish the newly built cathe

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Fozi, Shirin. "Christ among Us: Sculptures of Jesus across the History of Art by Joseph Antenucci Becherer and Henry Martin Luttikhuizen (review)." Catholic Historical Review 110, no. 1 (January 2024): 120–21. http://dx.doi.org/10.1353/cat.2024.a921700.

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Sharapenkova, Natalia, and Polina Iakusheva. "THE GOD-SEEKING IN PÄR LAGERKVIST’S PROSE." Studia Humanitatis 17, no. 4 (December 2020): 26–33. http://dx.doi.org/10.15393/j12.art.2020.3664.

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Thematic justification for the article is the growing interest of researchers for so called minor literatures, including Swedish literature, as well as for the philosophical and religious themes in literary texts. The choice of topic is also motivated by the small number of research papers on Pär Lagerkvist’s works in Russian, despite the importance of his legacy for global culture. The goal of the article is to analyze the motif of god-seeking in Pär Lagerkvist’s prose and its transformation throughout his body of work. In the article the following conclusions are drawn: The motif of God-seek

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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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Hunt, Margaret Wiedemann. "‘Playwrights Are Not Evangelists’: Dorothy L. Sayers on Translating the Gospels into Drama." Studies in Church History 53 (May 26, 2017): 405–19. http://dx.doi.org/10.1017/stc.2016.24.

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Dorothy L. Sayers's twelve-part wartime radio life of Christ The Man Born to be King has been judged ‘an astonishing and far-reaching innovation’, not only because it used colloquial speech and because Jesus was a character voiced by an actor, but also because it brought the gospels into people's lives in a way that demanded an imaginative response. In spite of this, Sayers insisted that her purpose was not evangelization. Sayers's writing on theological aesthetics asserts that a work of art will only speak to its audience if the artist ‘serves the work’ rather than trying to preach. This arti

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