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| Author | : Anne Karahan |
| Publisher | : |
| Total Pages | : 360 |
| Release | : 2005 |
| Genre | : Christian art and symbolism |
| ISBN | : |
| Author | : Anne Karahan |
| Publisher | : Peeters |
| Total Pages | : 0 |
| Release | : 2010 |
| Genre | : Christian art and symbolism |
| ISBN | : 9789042920804 |
Patristic thinking is the bedrock of the uniformity of Byzantine culture, legitimization of image use in the Eastern Church, as well as Byzantine aesthetics, Karahan argues. The synergy in Late Byzantine holy images of "meta-images" for God's inexplicability, and elaborated dramatized narration for God's immanence epitomize orthodox tradition in general, and in particular fourth-century Cappadocian modes and models of thought on Christology, trinitarian theology and the Theotokos. The incomprehensible, uncircumscribed invisible Trinity, and the comprehensible God-man born of the Theotokos, circumscribed in flesh but not in divinity is a one-God reality of transcendent ontology and actions in the world of the two-natured image of God, Christ. Explanations in words or in images cannot ignore these orthodox axioms without turning into false images or heretic idols. This book explores why and how the idiosyncratic use of color, form, kinetics, light, and brilliance in Late Byzantine aesthetics concur with the tradition of the Fathers. How narration in image as well as literature is orthodoxos, 'of right belief, orthodox'.
| Author | : |
| Publisher | : BRILL |
| Total Pages | : 583 |
| Release | : 2015-06-02 |
| Genre | : Philosophy |
| ISBN | : 9004291695 |
Protestant theology and culture are known for a reserved, at times skeptical, attitude to the use of art and aesthetic forms of expression in a religious context. In Transcendence and Sensoriness, this attitude is analysed and discussed both theoretically and through case studies considered in a broad theological and philosophical framework of religious aesthetics. Nordic scholars of theology, philosophy, art, music, and architecture, discuss questions of transcendence, the human senses, and the arts in order to challenge established perspectives within the aesthetics of religion and theology.
| Author | : Jane Baun |
| Publisher | : |
| Total Pages | : 580 |
| Release | : 2010-05-05 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9789042923706 |
Papers presented at the Fifteenth International Conference on Patristic Studies held in Oxford 2007 (see also Studia Patristica 45, 46, 47, 48 and 49). The successive sets of Studia Patristica contain papers delivered at the International Conferences on Patristic Studies, which meet for a week once every four years in Oxford; they are held under the aegis of the Theology Faculty of the University. Members of these conferences come from all over the world and most offer papers. These range over the whole field, both East and West, from the second century to a section on the Nachleben of the Fathers. The majority are short papers dealing with some small and manageable point; they raise and sometimes resolve questions about the authenticity of documents, dates of events, and such like, and some unveil new texts. The smaller number of longer papers put such matters into context and indicate wider trends. The whole reflects the state of Patristic scholarship and demonstrates the vigour and popularity of the subject.
| Author | : Anna Cecilia Olovsdotter |
| Publisher | : Walter de Gruyter GmbH & Co KG |
| Total Pages | : 244 |
| Release | : 2018-12-17 |
| Genre | : History |
| ISBN | : 3110546841 |
It has long been an accepted assumption that the abstracted mode of visual representation that emerged in late antiquity reflected a collective shift from the outer-directed and ’material’ world-view of classical antiquity to an inner-directed, ’spiritual’ mentality informed by Christianity: the purpose of this volume is to offer a more nuanced and diverse image of the nature and meanings of abstraction and symbolism in late antique and early medieval art, beyond normative intepretation models, and from a number of different methodological and interpretative perspectives. In ten chapters, ten authors specialised in various fields of late-antique and Byzantine art explore the historiographical background of the ’spiritual’ interpretation paradigm, neuroscientific and theological dimensions of Christian visual aesthetics, meanings and motive factors behind apparently wholly abstract and aniconic compositions, symbolic motifs and schemes for visualising cosmic order and the cosmic state of Christ, and the re-use of symbolic Greco-Roman themes in Christian contexts. The result is a multi-focal image of late antique abstraction and symbolism that illuminates the heterogeneity and complexity of the phenomena and of their study.
| Author | : Massimo Mastrogregori |
| Publisher | : Walter de Gruyter |
| Total Pages | : 433 |
| Release | : 2009-12-22 |
| Genre | : History |
| ISBN | : 3598441614 |
Annually published since 1930, the International Bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The IBOHS is thus currently the only continuous bibliography of its kind covering such a broad period of time, spectrum of subjects and geographical range. The works are arranged systematically according to period, region or historical discipline, and alphabetically according to authors names or, in the case of anonymous works, by the characteristic main title word. The bibliography contains a geographical index and indexes of persons and authors.
| Author | : Kristine Kolrud |
| Publisher | : Routledge |
| Total Pages | : 265 |
| Release | : 2016-12-05 |
| Genre | : Art |
| ISBN | : 1351929208 |
The phenomenon of iconoclasm, expressed through hostile actions towards images, has occurred in many different cultures throughout history. The destruction and mutilation of images is often motivated by a blend of political and religious ideas and beliefs, and the distinction between various kinds of ’iconoclasms’ is not absolute. In order to explore further the long and varied history of iconoclasm the contributors to this volume consider iconoclastic reactions to various types of objects, both in the very recent and distant past. The majority focus on historical periods but also on history as a backdrop for image troubles of our own day. Development over time is a central question in the volume, and cross-cultural influences are also taken into consideration. This broad approach provides a useful comparative perspective both on earlier controversies over images and relevant issues today. In the multimedia era increased awareness of the possible consequences of the use of images is of utmost importance. ’Iconoclasm from Antiquity to Modernity’ approaches some of the problems related to the display of particular kinds of images in conflicted societies and the power to decide on the use of visual means of expression. It provides a deeper understanding of the mechanisms of the phenomenon of iconoclasm. Of interest to a wide group of scholars the contributors draw upon various sources and disciplines, including art history, cultural history, religion and archaeology, as well as making use of recent research from within social and political sciences and contemporary events. Whilst the texts are addressed primarily to those researching the Western world, the volume contains material which will also be of interest to students of the Middle East.
| Author | : Jaroslav Pelikan |
| Publisher | : Princeton University Press |
| Total Pages | : 220 |
| Release | : 2023-10-17 |
| Genre | : Art |
| ISBN | : 0691252734 |
A sweeping account of the controversies surrounding the worship of images in the early Byzantine church In 726, the Byzantine emperor, Leo III, issued an edict that all religious images in the empire were to be destroyed, a directive that was later endorsed by a synod of the church in 753 under his son, Constantine V. If the policy of Iconoclasm had succeeded, the entire history of Christian art—and of the Christian church, at least in the East—would have been altered. Iconoclasm was defeated by Byzantine politics, popular revolts, monastic piety, and, most fundamentally of all, by theology, just as it had been theology that the opponents of images had used to justify their actions. Analyzing an intriguing chapter in the history of ideas, the renowned scholar Jaroslav Pelikan shows how a faith that began by attacking the worship of images ended first in permitting and then in commanding it. Pelikan charts the theological defense of icons during the iconoclastic controversies of the eighth and ninth centuries, whose high point came in 787, when the Second Council of Nicaea restored the cult of images in the church. He demonstrates how the dogmas of the Trinity and the Incarnation eventually provided the basic rationale for images: because the invisible God had become human and therefore personally visible in Jesus Christ, it became permissible to make images of that Image. And because not only the human nature of Christ, but that of his Mother had been transformed by the Incarnation, she, too, could be “iconized,” together with all the other saints and angels. The iconographic “text” of the book is provided by one of the very few surviving icons from the period before Iconoclasm, the Egyptian tapestry Icon of the Virgin now in the Cleveland Museum of Art. Other icons serve to illustrate the theological argument, just as the theological argument serves to explain the icons. In an incisive foreword, Judith Herrin explains the enduring importance of the book and discusses how later scholars have built on Pelikan’s work. Please note: All images in this ebook are presented in black and white and have been reduced in size.
| Author | : Nicu Dumitra?cu |
| Publisher | : Springer |
| Total Pages | : 295 |
| Release | : 2016-04-29 |
| Genre | : Religion |
| ISBN | : 113750269X |
This book brings the Cappadocian Fathers to life and explores their contributions to subsequent Christian thought. Melding together a thematic and individualized approach, the book examines Cappadocian thought in relation to Greek philosophy and the musings of other Christian thinkers of the time. The volume is unique in that it details the Cappadocian legacy upon the three central divisions of Christianity, rather than focusing on one confession. Providing a multifaceted assessment of the spirituality and beliefs of the fourth-century Church, contributors interweave historical studies into their philosophical and theological discussions. The volume draws together an international team of scholars from a variety of academic backgrounds including philosophy, theology, and Classics. The contributors bring their unique perspectives to bear on their analysis of the Cappadocians’ theological contributions. Special attention is given to the Cappadocians’ influence on pneumatology, Christology, and ethics. The Ecumenical Legacy of the Cappadocians sets the Cappodocians’ theoretical views in relief against the political and historical background of their day, enlivening and vivifying the analysis with engaging biographical sketches.
| Author | : Torstein Tollefsen |
| Publisher | : Oxford University Press |
| Total Pages | : 208 |
| Release | : 2018 |
| Genre | : Biography & Autobiography |
| ISBN | : 0198816774 |
St Theodore the Studite's Defence of the Icons provides an investigation of the icon-theology of St Theodore the Studite, mainly as it is presented in his three refutations of the iconoclasts, the Antirrhetici tres adversus iconomachos. Torstein Theodor Tollefsen explores Theodore's 'philosophy of images', namely his doctrine of images and his arguments that justify the legitimacy of images in general and of Christ in particular. Tollefsen offers a historical, theological, and philosophical exploration of Theodore's doctrine of images and his arguments justifying the legitimacy of images and of Christ. In addition to the main elements of Theodore's defence of the icon, like the Christological issue, the relation between image and prototype, the question of veneration, his explanation of why we may say of an image that 'this is Christ', and his innovative thinking on the representative character of the icon, the book has an introduction that places Theodore in the history of Byzantine philosophy: He has some knowledge of traditional logical topics and is able to utilize argumentative forms in countering his iconoclast opponents. The volume also provides an appendix which shows that the making of images is somehow natural given the character of Christianity as a religion.
