Tradition And Transformation In Christian Art

Tradition and Transformation in Christian Art approaches tradition and transculturality in religious art from an Orthodox perspective that defines tradition as a dynamic field of exchanges and synergies between iconographic types and their variants. Relying on a new ontology of iconographic types, it explores one of the most significant ascetical and eschatological Christian images, the King of Glory (Man of Sorrows). This icon of the dead-living Christ originated in Byzantium, migrated west, and was promoted in the New World by Franciscan and Dominican missions. Themes include tensions between Byzantine and Latin spiritualities of penance and salvation, the participation of the body and gender in deification, and the theological plasticity of the Christian imaginary. Primitivist tendencies in Christian eschatology and modernism place avant-garde interest in New Mexican santos and Greek icons in tradition.

Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 1000–2000 focuses on the changing relationships between what gradually emerged as the Arts and Christianity, the latter term covering both a stream of ideas and its institutions. The book as a whole is addressed to a general academic audience concerned with issues of cultural history, while the individual essays are also intended as scholarly contributions within their own fields. A collaborative effort by twenty-five European and American scholars representing disciplines ranging from aesthetics to the history of art and architecture, from literature, music and the theatre to classics, church history, and theology, the volume is an interdisciplinary study of intermedial phenomena, generally in larger cultural and intellectual contexts. The focus of topics extends from single concrete objects to sets of abstract concepts and values, and from a single moment in time to an entire millennium. While Signs of Change acknowledges the importance of synthesizing efforts essential to hermeneutically informed scholarship, in order to counterbalance generalized historical narratives with detailed investigations, broad accounts are juxtaposed with specialized research projects. The deliberately unchronological grouping of contributions underlines the effort to further discussion about methodologies for writing cultural history.

This book explores the historical and contemporary relationship between the arts and Christianity.

Titus Burckhardt was a renowned expert on the art of traditional worlds. This book takes the reader through the history of Christian art, focusing especially upon architecture, iconography, and illumination.

This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of ‘sacred portrait’ also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities. Andrew Paterson addresses two fundamental questions about devotional portraiture – both Christian and non-Christian – in the late antique period. Firstly, how did artists visualise and construct these images of divine or sanctified figures? And secondly, how did their intended viewers look at, respond to, and even interact with these images? Paterson argues that a key factor of many of these portrait images is the emphasis given to the depicted gaze, which invites an intensified form of personal encounter with the portrait’s subject. The book will be of interest to scholars working in art history, theology, religion and classical studies.

This volume explores how the visual arts are presenting and responding to Christian theology and demonstrates how modern and contemporary artists and artworks have actively engaged in conversation with Christianity. Modern intellectual enquiry has often been reluctant to engage theology as an enriching or useful form of visual analysis, but critics are increasingly revisiting religious narratives and Christian thought in pursuit of understanding our present-day visual culture. In this book an international group of contributors demonstrate how theology is often implicit within artworks and how, regardless of a viewer’s personal faith, it can become implicit in a viewer’s visual encounter. Their observations include deliberate juxtaposition of Christian symbols, imaginative play with theologies, the validation of non-confessional or secular public engagement, and inversions of biblical interpretation. Case studies such as an interactive Easter, glow-sticks as sacrament, and visualisation of the Bible’s polyphonic voices enrich this discussion. Together, they call for a greater interpretative generosity and more nuance around theology’s cultural contexts in the modern era. By engaging with theology, culture, and the visual art, this collection offers a fresh lens through which to see the interaction of religion and art. As such, it will be of great use to those working in Religion and the Arts, Visual Art, Material Religion, Theology, Aesthetics, and Cultural Studies.

The Art of God Incarnate proposes that visual art is a good way to think of how the incarnation--the central truth-claim of Christianity--can be said to reveal the divine. In the book of Genesis, the human being, fresh from the hands of the Creator, is the image of God in the temple of the world. In an environment of distorted images the prophets sought to make visible by symbolic gestures the divine attitude toward Israel, as well as looking forward to a new divine intervention to redeem history and transfigure human lives. For the New Testament faith, this transforming intervention has come about through the restoration of the divine image in man. Jesus Christ is the true and living icon of the Father and the model from whose radiance human beings generally can be re-fashioned. Despite the anti-iconic legislation of the Hebrew Bible, it was inevitable, therefore, that under the New Covenant a visual art would make its appearance, since God had now made himself visible in his humanized Son. During the iconoclast crisis which shook the Eastern Roman Empire, it was the achievement of the later Greek fathers to spell out this claim doctrinally. Modern aesthetics can throw further light, especially by way of phenomenology and semiotics, on how an artwork can be a communicator of meaning and truth. Finally, there is the question of how human beings are to make their own this revelation of God in the visual realm. In the Latin tradition, especially among the monastic teachers of the twelfth century, the biblical theme of man made in the divine image and likeness was used to speak of how people can be changed by the fresh resources that revelation provides. Through growth in charity they themselves can become saints, "images" of God.