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The imagery of Hell, the Christian account of the permanent destinations of the human soul after death, has fascinated people over the centuries since the emergence of the Christian faith. These landmark volumes provide the first large-scale investigation of this imagery found across the Byzantine and post-Byzantine world. Particular emphasis is placed on images from churches across Venetian Crete, which are comprehensively collected and published for the first time. Crete was at the centre of artistic production in the late Byzantine world and beyond and its imagery was highly influential on traditions in other regions. The Cretan examples accompany rich comparative material from the wider Mediterranean - Cappadocia, Macedonia, the Peloponnese and Cyprus. The large amount of data presented in this publication highlight Hell's emergence in monumental painting not as a concrete array of images, but as a diversified mirroring of social perceptions of sin.
Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Cecile Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries. The African kingdom's elite independently and gradually intertwined old and new, local and foreign religious thought, political concepts, and visual forms to mold a novel and constantly evolving Kongo Christian worldview. Fromont sheds light on the cross-cultural exchanges between Africa, Europe, and Latin America that shaped the early modern world, and she outlines the religious, artistic, and social background of the countless men and women displaced by the slave trade from central Africa to all corners of the Atlantic world.
Virtually all the masterpieces of Islamic art-the Alhambra, the Taj Mahal, and the Tahmasp Shahnama-were produced during the period from the Mongol conquests in the early thirteenth century to the advent of European colonial rule in the nineteenth. This beautiful book surveys the architecture and arts of the traditional Islamic lands during this era. Conceived as a sequel to The Art and Architecture of Islam: 650-1250, by Richard Ettinghausen and Oleg Grabar, the book follows the general format of the first volume, with chronological and regional divisions and architecture treated separately from the other arts. The authors describe over two hundred works of Islamic art of this period and also investigate broader social and economic contexts, considering such topics as function, patronage, and meaning. They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles. The authors conclude with a provocative essay on the varied legacies of Islamic art in Europe and the Islamic lands in the nineteenth and twentieth centuries.
This intimate selection of Nouwen's spiritual writings on themes of faith and solidarity with a wounded world includes a substantial introduction by the man himself.
The Basilica of the Sacred Heart at the University of Notre Dame contains one of the largest collections of late nineteenth-century French stained glass outside of France. The French Gothic-inspired church has forty-four large stained glass windows containing two hundred and twenty scenes. Today, more than 100,000 visitors tour the basilica each year to admire its architecture. This informative guidebook tells the unique story of the windows: the improbable creation of a glassworks by cloistered Carmelite nuns in LeMans, France, and their stained glass that so perfectly illuminated the late-nineteenth-century French Catholic spirituality of the Congregation of Holy Cross. Stories in Light describes the windows according to their location in the building, from the narthex at the entrance to the Lady Chapel behind the altar. Full-color photographs, accompanied by commentary on the historical and theological importance of the glass and the iconography of the saints, provide a detailed view of the scenes found in each window. Stories in Light is an easy-to-read book written for all who visit the basilica and for readers everywhere who want to know more about the rich history and heritage of the Basilica of the Sacred Heart's stained glass.
- The first title to describe Victorian religious figures in the context of their times- A comprehensive illustrated catalog of well over 200 figures with an assessment of their dating and rarity- Individual descriptions of the figures in their biblical or historic settingsA multitude of colourful and naive biblical and other religious pottery figures found their way into 19th century Victorian homes in Britain. They were bought by tradesmen, shop-keepers, clerks, teachers and the more skilled working class people. This book tells the story of these Staffordshire pottery figures, which sold in their thousands to stand on the mantelpieces of Christian families, both Protestant and Catholic.Three chapters provide a social history context: the religious background, an assessment of who purchased the figures, the Victorian home and how it was furnished. The final four chapters review the pottery figures themselves, which are based on the Old Testament, the New Testament, relevant religious themes and portraits of preachers. A catalogue of well over 200 figures in full colour with an assessment of their dating and rarity completes the book.This is the first comprehensive record of Victorian religious figures placed in the context of their times.
This delightful book describes and interprets a series of paintings for each day of Lent. Artists often address subjects that our culture seeks to avoid, and Sister Wendy's brilliant and perceptive reflections will help you to read these paintings with a more discerning eye, and encounter deeper levels of spiritual meaning than may at first appear.
The Sacred Mirrors are a journey through our physical, socio-political and spiritual anatomy. The Sacred Mirrors Cards contains twenty-three meditation cards featuring reproductions of all twenty-one of Alex Grey's Sacred Mirrors paintings plus two additional transformative images: Oversoul and The Angel. Grey's visionary poetry on the back of each card leads the meditator through contemplation of the image on the front of the card, culminating in a one-word theme for reflection. The twenty-three cards in this boxed set are intended to lead the viewer through the process of theosis - that is, coming closer to God - through contemplation of iconic archetypes and seeing oneself, each other and the world as a reflection of the divine. Alex Grey's two books of paintings have already realised massive sales: Sacred Mirrors has sold 90,000 copies and Transfigurations 25,000. His work has been exhibited around the world, including the New Museum and Stux Gallery in New York City, the Chicago International Art Exposition; the London Regional Art Gallery in Canada, the Grand Palais in Paris, the Sao Paulo Biennial and ARK exhibition space in Tokyo. In 1999, the Museum of Contemporary Art in San Diego honoured Grey with a mid-career retrospective. His art has, also, been featured in venues as diverse as album covers for the Beastie Boys, Nirvana and Tool; Newsweek magazine; and the Discovery Channel. He lives in New York with his wife, artist Allyson Grey, and their daughter, actress Zena Grey.
The religious turmoil of the sixteenth century constituted a turning point in the history of Western Christian art. The essays presented in this volume investigate the ways in which both Protestant and Catholic reform stimulated the production of religious images, drawing on examples from across Europe and beyond. * Eight essays by leading scholars in the field * Brings art historians and historians into productive dialogue * Broad chronology, from the sixteenth to the eighteenth century * Broad geographical coverage * Richly illustrated
The aesthetics of everyday life, as reflected in art museums and galleries throughout the western world, is the result of a profound shift in aesthetic perception that occurred during the Renaissance and Reformation. In this book, William A. Dyrness examines intellectual developments in late Medieval Europe, which turned attention away from a narrow range liturgical art and practices and towards a celebration of God's presence in creation and in history. Though threatened by the human tendency to self-assertion, he shows how a new focus on God's creative and recreative action in the world gave time and history a new seriousness, and engendered a broad spectrum of aesthetic potential. Focusing in particular on the writings of Luther and Calvin, Dyrness demonstrates how the reformers' conceptual and theological frameworks pertaining to the role of the arts influenced the rise of realistic theater, lyric poetry, landscape painting, and architecture in the sixteenth and seventeenth centuries.
'Witches & Wicked Bodies' provides an innovative, rich survey of European witchcraft from the 16th century to the present day. It focuses on the representation of female witches and the enduring stereotypes they embody, from hideous old crones to beautiful young seductresses.
Liturgical, sacramental, and historical, The Sacred Community is a masterful work of theological aesthetics. David Jasper draws upon a rich variety of texts and images from literature, art, and religious tradition to explore the liturgical community gathered around--and most fully constituted by--the moment of the Sanctus in the Eucharistic liturgy. From art and architecture to pilgrimage and politics Jasper places this community in the midst of the contemporary world.
Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.
Examines the work of three major American authors - Jonathan Edwards, Herman Melville and W.E.B. DuBois - whose lives span 250 years and who, in spite of their different heritages, all expressed themselves through the tradition of the jeremiad. The study is grounded in the meaning and act of America's revolutionary founding, the Civil War, and in Reconstruction and offers new resources for understanding American history and culture.|Over the last few decades the notion of civil religion has gained parlance as a way of making sense of American culture and religion. The term civil religion, often used simply to mean patriotism, refers in this text to the religious styles and rhetoric that emerge from the act of founding of the American Republic as a democratic nation. The author examines the work of three major American authors whose lives span 250 years and who, in spite of their different heritages, all expressed themselves through the tradition of the jeremiad, or prophetic judgment of a people for backsliding from their destiny. Jonathan Edwards, the eighteenth-century theologian whose work defined the Great Awakening, made use of the jeremiad through a theological discourse that defined conversion as a performative act. Stewart demonstrates how Herman Melville, the author of Moby Dick, questioned the ideology of American optimism; her focus here falls upon his lesser known and often overlooked novel, Pierre, or the Ambiguities. W. E. B. Du Bois, the preeminent African American intellectual and activist took up the jeremiad from the implications of the Reconstruction. Stewart grounds her study in the meaning and act of America's revolutionary founding, the Civil War, and in Reconstruction, which represents a refounding. These contexts along with the cultural meaning of Puritanism set forth the meaning of civil religion within the orders of a revolutionary beginning. Highlighting the promise and failure of the American Revolution, her study offers new resources for understanding American history and culture.
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